Yvonne Hachkowski

Based out of her studio in East Vancouver, Yvonne is typically found everywhere she says she is not. 

 

Yvonne's photographic work observed the state of the changing landscape as a result of human interaction. Her work depends on an investment in time from both photographer and viewers perspective asking us to invest back into our landscape through imagery.

Recently working with a focus in Memory and Loss; she has brought her interest of enablement into other mediums creating a medatative practice in 3d materials.

 

Yvonne Hachkowski is a visual artist living in Vancouver, BC.

She holds a BFA in Photography from Emily Carr University of Art + Design and studied at Zurcher Hochschule de Kunst in Zurich, Switzerland.

Her work has been exhibited locally and internationally.

How did you end up making what you make?

My work is a reflection of where I am physically and spiritually. I identify as a creative, my chosen medium is Analogue Photography. When I was young, I picked up a paintbrush to create a scene, I traced lines in ink and I transformed solids with carving tools - nothing translated the conversation of an idea quite like the imagery on silver gelatine astute. My medium takes me places and allows me to communicate how I receive what is in front of me - It gives me an opportunity to share with the viewer something that is indescribable by words. 

 

What have you learned in an unexpected place or from an unexpected person that informs your making?

A year ago I removed myself from a life I had created in Vancouver to live alone in a cabin in the woods on the North Shores of Lake Superior. 

The unknown thrilled me and my surroundings challenged me. 

I learned to stop, embrace and create. Everything was honest and pure, I learned the true value of time.

 

What inspires or drives you to make what you make?

Disability and enablement.

I also admire the work of the researchers who live in Antarctica. The work they do is incredible, living in such harsh elements while collecting important data, they do good science work!

 

I spend a lot of time reading futilitycloset.com - im fascinated by things I dont need to know.

 

Im inspired by Canadas Indigenous people. As of current, the strength in community speaking out about protecting the Peel Watershed from Industreal Development in the Canadian Arctic. I believe we have a lot to learn about community and priorities from our native americans.

 

Who are some of your favourite other makers? Local? Worldwide?

I keep a close eye on the brilliant minds of those participating in Collective Howl, Vanessa Maltese, Lauren Reed, Toby Reid, and Joji Fukushima.

 

What is your favourite season and why?

Autumn. No, Winter? Autumn AND Winter!!!

I relate to seasonal change and the grounding that comes from within the elements. Autumn is an inspiring time for me as I embrace the energy surrounding change. Winter, its a time I find I am most present.

 

 

Who is your celebrity crush?

Bruce Springsteen.

Just… don't even, 

 

 

How do you connect to your land base?

 

I like to feel small in the presences of things that are truly greater then myself. 

I will drive for days to wake up next to an Ice Field to feel young like I have much to learn. I will submerge myself in a crisp body of fresh water to feel pain. I will strain my muscles and stress my lungs to breath deep atop a mountain to clear my mind. When I stop my daily routine and remove myself from my familiars, I am challenged. It's then that I feel most alive.

I think at times, it finds me before I find it. 

 

 

Do you remember the first thing you made that you felt was great/ the first time you found passion in being a maker?

When I lived in Zurich, I chose to work with an alternative photography processes I had never before prepared myself. It was the most enriching disasters!

The day finally came to put my two months of chemical experiments into action. 

I sized my paper, 

Evenly coated the two solutions, 

Carefully positioned the negative in the UV exposure boxes,

And I waited the longest 32 minutes of my life.

I took a deep breath and as that paper hit the clearing solution - my images slowly and perfectly appeared. I knew those late nights in the darkroom and silver nitrate stains on my face, arms and upper body were worth everything…

Since then, I have never not had my hands in every possible aspect of any process I am working with.