Others might say of Hannah’s work:

“The element of texture is the fulcrum around which each piece rotates. There’s a maximalist depth here that works at many different levels: from a distance you might see a colorful abstract menagerie of forms and, on close inspection, you might notice how the dense and loose stitches and inclusions play with value and movement. If you look long enough, the work seems to squirm.”

Or perhaps:

“I do not want to touch that with my hand fingers.”

Or even:

“Yes, I know, but what I’m asking is, what was that when it was still alive?”

Hannah’s work incorporates natural elements and fibers, drawing heavily on organic inspirations, color palettes, and forms. Nearly all of her work is inedible. Each piece is crafted with a combination of loving and resentful stitches. Collectors know that every Hannah Parish original has a unique trajectory of having been, at different times: the piece she was excited about, the piece she hated, the piece she forgot about, the piece where she finally got to use that one thing she was saving, the piece she isn’t sure she wants to let go of, and the piece that is now up for adoption and being pushed out of the nest. The medium of embroidery couples two of Hannah’s distinct skill sets, namely an eye for precise detail and the resolve to stab one thing hundreds of times. Check out the archives page or her Instagram to see her broad portfolio and the Available Work page to see how you can lay claim to a Hannah Parish original. Each piece comes ready to hang and includes, for free, a small percentage of the well-being of Hannah’s upper spine.

Lovingly written by Hannah’s partner, izzy, because she knew Hannah would not do this herself.