Sara Hannant

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Occult forces of nature are evoked in antique magic lantern slides of British landscapes. Ethereal energy fields appear to be emanating like auras from trees and rocks. These picturesque views are seemingly inhabited by psychic phenomena. The products of once frozen photographic moments are enlivened through air and moisture into a process of transformation. Decay and disintegration merge with the image on the glass, forming patterns shaped like roots, leaves and ectoplasmic fissures, reclaiming the mechanical capture to become a sensory language that is used to describe a newly imagined and haunted landscape. Some of the marks appear corrosive pointing to an intrusion or imbalance with the natural world alluding to our environmentally challenged existence.

Made during the pandemic, these images explore natural materials and objects attributed with powers of protection. My approach is inspired by ritual and the liminal space between worlds, where, for a time, humans can become truly ‘other’ than themselves. In this transformative state the limits between the real and the imagined are blurred, the external and internal impact and shape our notion of reality.

Made during the pandemic, these images explore natural materials and objects attributed with powers of protection. My approach is inspired by ritual and the liminal space between worlds, where, for a time, humans can become truly ‘other’ than themselves. In this transformative state the limits between the real and the imagined are blurred, the external and internal impact and shape our notion of reality.

Made during the pandemic, these images explore natural materials and objects attributed with powers of protection. My approach is inspired by ritual and the liminal space between worlds, where, for a time, humans can become truly ‘other’ than themselves. In this transformative state the limits between the real and the imagined are blurred, the external and internal impact and shape our notion of reality.

Made during the pandemic, these images explore natural materials and objects attributed with powers of protection. My approach is inspired by ritual and the liminal space between worlds, where, for a time, humans can become truly ‘other’ than themselves. In this transformative state the limits between the real and the imagined are blurred, the external and internal impact and shape our notion of reality.

Made during the pandemic, these images explore natural materials and objects attributed with powers of protection. My approach is inspired by ritual and the liminal space between worlds, where, for a time, humans can become truly ‘other’ than themselves. In this transformative state the limits between the real and the imagined are blurred, the external and internal impact and shape our notion of reality.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Numinous: of, about, or like numen – divine power or spirit: a deity especially one presiding locally or believed to inhabit a particular thing or place. ‘Numinous’ is inspired by the imagined wishes and stories embodied in the cloths and the role played by the forces of nature in traditional healing rituals. I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the four elements of air, earth, fire, and water. The photographs keep open to scrutiny instants, which the normal flow of time immediately replaces. Celestial and human forms appear to be revealed, suggesting that these are entities inhabiting the offerings. With thanks to the Cornish Ancient Sites Protection Network (CASPN), a charitable partnership formed to look after the ancient sites and monuments of Cornwall.

Sara Hannant

Sara Hannant is a photographer, artist and educator based in London. She is best known for her photographs exploring magical beliefs, seasonal customs, and folklore. Her practice began in the documentary photography tradition and she has a dynamic approach to image-making and visual storytelling.  She uses analogue, digital, alternative processes to produce work for exhibitions and publications.

Sara has exhibited widely including at The Royal Society of Arts, Christie’s and Towner Gallery. Her photographs have been featured on the BBC, ZeitAtlas Obscura and in The GuardianThe Sunday Times, and The British Journal of Photography among others. To coincide with the publication of Mummers, Maypoles and Milkmaids: A Journey through the English Ritual Year (Merrell, 2011) the Horniman Museum launched a touring exhibition of her work. She received the runner-up Katharine Briggs Folklore Award in 2012.  Of Shadows: One Hundred Objects from the Museum of Witchcraft and Magic (Strange Attractor Press,2016) was Honorary Winner in the International Photography Awards.

In 2018, she was nominated for the Royal Photographic Society Hundred Heroines, an honorary winner in the Julia Margaret Cameron Award and shortlisted for Urban Photography, and Photojournalism in the British Life Photography Awards.  In 2019, she was shortlisted for Documentary Photography: British Photography Awards. The series Rift was shortlisted for Creative Photo Awards 2020, and Betwixt won Alternative Processes: Pollux Awards. Her latest work, Force Fields, shortlisted for Siena Creative Photo Awards and received an Honourable mention in PX3 Prix de la Photographie, is on show at St Barbe Museum in Unsettling Landscapes: The Art of the Eerie. 

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