Allusions of Grandeur (2022) [the photograph version] presents both domesticity and landscapes, combines them, and challenges the convention that they cannot be merged. Using a skyscape at the top of the composition and the bathtub at the bottom of the composition combines them and makes it as though the water within the bath is potentially a landscape (or a set of islands) of its own. The scale of both- the skyscape being infinite while the bath being much smaller in person interacts with the viewer as it challenges perspective, scale and, within the context of the title, grandeur.
Concentrating more on the bathtub, it is given the same importance as the impressive clouds- the surface of the bathwater features swirling foam, reflections and what looks like islands. By giving the domestic scene half of the composition, which it shares with the skyscape-, it shows how domesticity and landscape are equal and can be together, thus, compelling the viewer to reconsider that there is a potential grandeur of the mundane/every day.
The installation version of the same work takes the same section of the bathtub and the bathwater, along with another photograph displaying what looks to be an indoor plant. It is noticeable that the skyscape is removed as the installation is outdoors, allowing this element to be filled by the sky. Furthermore, putting the photographs on the laundry line implies that these mundane scenes can be hanged as art themselves- thus challenging the boundaries of art.
The photographs have been printed on fabric, which helps to connect them to the domestic setting as they are transformed into laundry; as fabric, it should move with the wind in this environment, which allows the photographs to adapt just like landscapes do. This, as the material of choice, allows the photographs, despite being domestic, to replicate or become more than captured landscapes, as they are now elements of said landscape.
For Route (2021), you can view all the photographs that are presented in the book (which will be briefly reviewed in this section) on Hutchison’s website here.
Route (2021) explores Hutchison’s journey of recovery following surgery back in 2019. The booklet (of which have the photographs in the installation as well) takes the viewer through the journey. The first diptych (Crooked) within the series is a gnarled tree which is still strong despite damages from the environment against and image of the artist’s hand on her upper back. The two images together suggest that both humans and nature share resilience despite physical challenges.
Weathered features her shoulder, which is exposed at a slight tilt, showing vulnerability. Again, there is another tree angled toward the same way, which shows adversity. Leaning forward, she leans forward slightly along with the tree. The tree itself in this image has its leaves stripped from it, yet it is still alive despite its vulnerability. Tall presents a close-up view of a tree trunk with its texture alongside a self-portrait of her body imitating the same pose. The tree in Tall is presented as having towering endurance, which still grows despite everything the world throws at it, while the self-portrait suggests strength despite the exposed skin showing fragility. Thus, one can power through the spirit of the trees shown in the series.
Reach presents a hand reaching out inside a home against a mountain reaching out into the skies. Both of these images show that despite being constrained, they wish to break free and stretch towards life’s possibilities, in that nothing can stop them. Overall, the Route (2021) series connects personal recovery from surgery to the environment’s resilience, as nature can endure and adapt just like the human mind and body.