Author: Rebecca Cox

An Interview with Hannah Thomas

We sit down with Hannah Thomas to discuss her life as an artist and learn how she works.

AR: What was the driving force behind your choice to become an artist?

A lack of other options! Really, although the exact nature of my practice has changed over the years, most basically in moving from photography to painting, there was no other career path that held any interest for me, they all meant compromise and they all meant pretending to be someone else for the duration of the work day. I am really useless at that and I found it exhausting to do and truly pointless. The highs I get from working at my art are dramatic and there isn’t much to compare to finishing a painting I’m really pleased with and standing back to look at it, knowing how much work went into it and that there isn’t another one like it anywhere.

AR: Does your artwork have a message? Political, social etc

I make a point of not having a political or social message in my work. I think it gives work a finite life if it is too mired in a particular cause or an artist has a particular axe to grind politically. Also inevitably it alienates a section of the audience. I am far more interested in existential themes, things that everyone feels but not everyone can express or visualise and I only ever make the work with myself in mind.  It is my emotional energy driving the work, my entirely subjective view on life and the world and people will either engage with it or not.  

AR: Do you keep tabs on art trends or are you all about doing your own thing?

I don’t pay any attention on the whole, but strangely I do find there is a sort of synchronicity sometimes that is entirely out of my hands, I will organically experiment with something only to find a month or so later that it had already been done elsewhere or it is a growing trend or technique. I think that’s inevitable with the visual over-saturation we all endure and the fact that at this point, nothing is new, it’s all been done somewhere before. The trick is not to care and to make it your own and give it a new life.

AR: What/who are your biggest influences? Artists or otherwise

Music and cinema are bigger influences on me than other visual artists, also literature.  Phrases, the mood of a song, the look of a film have a subconscious effect on me, but I don’t consciously reference anything like that, when planning my work I do often have a philosophical strand, a few quotes, ideas but I am not channeling anything in particular.  It’s more diffuse than that, if I am working to music it can affect how I apply the paint, the palette I pick. I recently did a series of works on paper that came about in the way they did purely because I was listening to Miles Davis on a loop all day. So, I called that series Many Miles in acknowledgement of the influence. 

AR: How has your life and experiences influenced your artwork?

I think my fascination with chaos and flux and the theories of Absurdism I explore come from the fact that I have always been fairly rootless. I spent the first 10 years of my life abroad in various places as a result of my dad’s job.  Then I was always moving around between cities, jobs, etc. The first place I ever felt attached to and really at home was London and although I don’t currently live there anymore, it remains my spiritual home.  I have always felt a bit of a journeyman and I love it. I believe it’s much easier to feel free and have a sense of perspective on life if you are not holding on too tight to things, don’t get stuck in one place for too long.

AR: How have you developed your style?

It’s come along very fast, developed quite radically really and utterly instinctively.  Basically it’s just been a process of trial and error, picking up techniques and ideas along the way, constantly experimenting and not being afraid of failure, because there’s always plenty of that. I feel much more confident and in full possession of my artistic intention now, even if the specifics of every painting are often a mystery to me until after I’ve finished, I know what feels authentically me when I’m working and only that will do.

AR: What’s your favourite piece in your portfolio and why?

Probably Netherworld weirdly, as it was such an arduous work to finish, had so many incarnations. It’s not one that I enter for competitions or anything as it’s a bit of a dark old behemoth of a piece, but I love it for that reason. It has such substance as a result of the struggles I had with it. Of my old pieces I love the Rebel Visions work because it was what started me on the road to painting and was a total experiment and genuinely unique as far as process went, as far as I knew anyway.

AR: What is your workspace set up like? Are you in a studio/do you work alongside others/are you at a laptop or freehand

My studio space is in flux right now, I have been working out of temporary spaces, all fairly small and unsuitable during the pandemic, so I am impatient for the spring when I hope to be able to relocate to another space. It will likely be a home studio as any other kind is hard to find in my area, but I am determined to get a space with good light and some clear white walls to work on and most of all some floor space. I have my desk in the room as well with my computer, as I am always flitting back and forth, breaking up my day into painting and admin work. If I had a really big studio then I would ideally probably have them in separate rooms as it can be distracting.

Click here to see Hannah's full collection


Off You Pop by Louise Nordh
Off You Pop £95

Louise Nordh

35 x 35cm

Limited edition of 30

Inside Mickey's Heart from £150

Angel London

Various sizes

Navy Boy £175

Charlie Evaristo-Boyce

50 x 70cm

Limited edition of 25

I Will Bite from £135

Mathilda Mai

Various sizes

Italian Summer by SODA
Italian Summer £125


42 x 29.7cm

Limited edition of 40

Let's Get It On £595

Linda Charles

56 x 76cm

Limited edition of 45

Wash the Blues Away by Charlie Haydn Taylor
Wash the Blues Away from £150

Charlie Haydn Taylor

Various sizes

Inhale £175

Joe Webb

50 x 70cm

Limited edition of 30

Roarsome - Green by And Wot
Roarsome - Green £195

And Wot

50 x 70cm

Limited edition of 2

Fresh £200

Hannah Adamaszek

60 x 75.5cm

Limited edition of 15

Destroy the Patriarchy Not the Planet (Mini) £400

Hannah Shillito

27.9 x 21cm

Limited edition of 20

Scratchin' Cats (Blue) £150

The Cameron Twins

33 x 36cm

Limited edition of 20

Fast Dog £95

Gavin Dobson

50 x 70cm

Limited edition of 100

Pangolin - Framed by Lisa Lloyd
Ready To Hang
Pangolin - Framed £150 £130

Lisa Lloyd

44 x 44cm

Limited edition of 50

In The Sky With Stars £195

Charlie Evaristo-Boyce

70 x 100cm

Limited edition of 16

Meet Me in Matisse's Garden - Framed by Benjamin Thomas Taylor
Ready To Hang
Meet Me in Matisse's Garden - Framed £275 £255

Benjamin Thomas Taylor

56 x 76cm

Limited edition of 25

Gamebuoy by Nick Chaffe
Gamebuoy £100

Nick Chaffe

29.7 x 42cm

Limited edition of 50

Seascape W £300

Newton Blades

50 x 30cm

Limited edition of 100

Space Cadet - Magma by RYCA
Space Cadet - Magma £180


13 x 26cm

Limited edition of 12

Attitude - Framed by Sara Pope
Ready To Hang
Attitude - Framed £110

Sara Pope

33.5 x 33.5cm

Limited edition of 100

Ley Lines £450

Maxine Gregson

100 x 50cm

Limited edition of 250

'Amazing' Shell - Framed by Charlie Evaristo-Boyce
Ready To Hang
'Amazing' Shell - Framed £125 £113

Charlie Evaristo-Boyce

54 x 20cm

Limited edition of 50

What's That Then by Nick Chaffe
Ready To Hang
What's That Then £400

Nick Chaffe

27.8 x 54.8cm

Limited edition of 5

Les Oiseaux - Artist Proof £295


42 x 29.7cm

Limited edition of 50

See You Later Alligator! £550

The Cameron Twins

51 x 72cm

Limited edition of 10

The Olive Branch (Azzuro) £2,500

Magnus Gjoen

95 x 120cm

Limited edition of 3

Down The Rabbit Hole... by Mark Petty
Ready To Hang
Down The Rabbit Hole... £295

Mark Petty

27 x 37cm

Limited edition of 50

AZUL Mini £125

Florence Blanchard

40 x 40cm

Limited edition of 25

Blue Sway £170

Angus Vasili

59.4 x 84.1cm

Limited edition of 8

Made You Look - Neon Pink A4 £40

Heath Kane

21 x 29.7cm

Limited edition of 20