Hannah Rose Robinson | Balance in Practice

Hannah Rose Robinson has crafted a career for herself as a freelance photographer by balancing her time carefully between the commercial, documentary & fine art spheres of her practice. She skilfully moves between the demands of each project to create work that has earned recognition from leading photography organisations such as Reportage & HeadON. Both of her documentary projects ‘The Empire’, a social reportage of homeless subculture in Newcastle, & ‘The Last Nomad’, an exploration of nomadic lifestyles in Mongolia, received high praise & international attention.

Most recently Hannah was invited to be a guest speaker at the 2014 AGIDEAS Look Upstairs international design conference.

This year Hannah will travel to Iceland to undertake an artist residency where she will explore ethnography through thoughtfully constructed image making & narratives. The project aims to be an examination of the relationships of people with the romantic, mythical and boldly evocative idea of the Icelandic horse in modern day Iceland.

We talked with Hannah about her connection to her work & the importance for creating balance in our practices.

When did you begin to take photographs?

I love adventures. Photography seemed like a good way to have lots of adventures. As a kid I was addicted to National Geographic magazines. I wanted to know the planet and it’s inhabitants- the images sparked an intense desire to travel and discover. That was where my curiosity for photography started, I wanted to document and collect the things that intrigued me.

Your major photographic documentary essay “The Last Nomad’, shot on horseback in Mongolia, suggests a strong interest in nomadic culture. Where does this interest come from?

I definitely have a thing for nomads. I am drawn to the idea of a nomadic life, moving around, making no permanent roots, the feeling of freedom associated with that lifestyle. One of my biggest fears is being caged in, so the exploration of the nomad lifestyle is something I am continually drawn too. From a very young age, I dreamed of riding a horse through Mongolia. The remote freedom of a place where nobody owns the land felt etched in my bones, and seemed to flow in my blood. It had always quietly called. Arriving on the steppe felt like coming home. A dreamland of sky and rolling hills. And horses. So many pretty, wild maned horses.

What are some of the rewards & challenges of documentary photography?

For me, documentary photography is about telling someone’s story. My project ‘The Empire', explores the family-like bond shared by the group of men I met and became friends with. It is an intimate journey into a subculture that is often misunderstood due to it's confronting nature and perceptions of the unknown and unfamiliar. Being a part of telling stories like this is why I love documentary photography.

The hardest thing about documentary is that I become so involved with the stories, the people, or the culture I am shooting, that I feel an incredible sense of loss when I have to move on. I find it incredibly difficult when I leave a situation or people whom have allowed me the intimate privilege into their lives. After shooting ‘The Empire’ I returned to working commercially and I almost had a meltdown. I couldn’t find my place between these two incredibly opposite worlds; it took me a long time to feel normal in my own headspace and reality.

Your work is a strong mix between commercial & documentary. How do you balance this? Do you identify more with one than other?

The two are not mutually exclusive I don't think. It’s invaluable to be able to explore & try different things and let the two lives enhance each other. In commercial work, the pressure of constantly needing to please can be overwhelming if you haven't learnt how to digest and manage it. It feeds the internal critic. Learning to move through these feelings by backing yourself, trusting yourself, to avoid getting stuck in a rut or burning out is the key to personal growth. For me that’s all about balancing the commercial work with the personal projects.

Documentary photography for me is the fire that keeps me balanced and motivated. You solidify a personal vision when you create for yourself: this process is testament to our true character and calling. It’s what I do when I am off the clock, not answering to anyone. I like to call it dancing in the dark, and it reminds me: this is who I am, this is what I do.

Can you tell us more about your project in Iceland?

My photographic work explores stories of everyday life from around the globe, which is driven by a particular interest in relationships between human and animals, especially horses. Horses are part of who I am, they are in my blood. The exploration of horses within a cultural context is something I wish to spend the rest of my life documenting. The project will present as part documentary and part constructed reality, hinting towards influences of myth, with horses as a symbol of a connection to land, space, place.

You work from the collaborative artist studios at 754 Hunter Street. What appeals to you about working in collaborative spaces?

There's always someone who you can crack a beer with and not feel alone in what your trying to do in the world.

What advice to you have to other photographers hoping to move into the professional realm?

Stock up on personal vision, something you are in love with, a thick skin, determination and motivation. Don't work so much that you forget to go outside for a walk and laugh at how beautiful flowers are, or taste the ocean, drown in a country sky or go on an adventure. I know working hard is important but it’s also important to fall back and remember how the sunshine and breeze feels on your face, and to turn your head and see friends and family. Don't empty the tank, otherwise it's all for nothing.

Follow Hannah at - www.hannahrose.com.au or

Instagram: hannah_rose_robinson

-Photo provided by Hannah