( Artist Statement )

Hannan Jones works across sound, film, installation, sculpture and performance, engaging with hybridity, rhythm and psychogeography in relation to cultural and social migration. Her practice is shaped by questions of continuity and rupture, often working through analogue processes at the intersections of sound, moving image and installation.

Her work foregrounds personal and collective histories, drawing on Welsh and Algerian heritage, and examining how positionality shapes memory, belonging and selfhood. Projects trace free speech movements, survival tactics and ritual practices, alongside embodied strategies for navigating public space under conditions of economic and environmental precarity.

Sonically, she works with sampling, electronics, musique concrète and archival fragments to construct layered, associative audio forms that reframe fragmented histories. Influences include Nicolas Collins, the BBC Radiophonic Workshop and Éliane Radigue. She received the Oram Award (2023).

She has presented work at Triangle-Astérides (Marseille), Counterflows (Glasgow), GMeM – Centre national de création musicale (Marseille), London Short Film Festival, Artes Mundi in partnership with the National Roman Legion Museum, Amgueddfa Cymru and Arts Council Wales (Wales), Wysing Arts Centre (Cambridgeshire), Assembly at Somerset House (London) and Forma (London), Tate Modern, REWIRE Festival (The Hague), Cafe OTO (London), SAVVY Contemporary (Berlin).

Jones is a Visiting Lecturer at Glasgow School of Art (2023–present). From 2020–21 she was an Artist Associate at Open School East.

She also contributes sound design to artists’ moving image and film, including The Flowers Stand Silently, Witnessing (2024, dir. Theo Panagopoulos), In Praise of Slowness (2023, dir. Hicham Gardaf), and Comfort (2023, dir. Daisy Smith).

Hannan grew up on Whajduk Noongar Boodja, Western Australia, land that has never been ceded.

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