<- CV
EDUCATION
2023 - 2024
Royal College of Art, MA Textiles
Supported by the Vice Chancellors International Bursary
2014 - 2019
OCAD University, BDes Textiles
2017
Glasgow School of Art, BA Textile Design
SOLO EXHIBITIONS
2025
The Weaver’s Arms, Projects Kavel Rafferty, Margate, UK
GROUP EXHIBITIONS
2025
Piecing, Garage Gallery E17, London, UK
All In, Fresh Salad, London, UK
2024
All In, Fresh Salad, London, UK
Interrogating the Unseen, Royal College of Art, London, UK
Textiles in the Making, Upper Gilbunkian Gallery, London, UK
Across RCA Exhibition, Hangar Space (RCA), London, UK
2022
One Story Is Not the Only Story, Montgomery's Inn, Toronto, CA
2020
Emotional Objects, XPACE Cultural Centre, Toronto, CA
Illustrations, Red Eye Espresso, Toronto, CA
2019
Use Tools, Make Other Tools, Flatiron Project Space, New York City, USA
110th Annual Grad Exhibition, OCAD University, Toronto, CA
2018
Recondite Garden, Little Sister Gallery, Toronto, CA
Winter Garden Installation, Baycrest Hospital, Toronto, CA
2017
1947-2017 Fashion Show, The Art School, Glasgow, UK
2016
Ritual/Virtual, Anna Lenowens Gallery, Halifax, CA
MAAD Haus, The Drake Hotel, Toronto, CA
GOD DUMPSTER, 8/11 Gallery, Toronto, CA
2015
20/20 Vision Hindsight, Worker’s Arts and Heritage Centre, Hamilton, CA
Visualizing Absence, Tangled Art and Disability Gallery, Toronto, CA
Visualizing Absence, L Space Gallery, Etobicoke, CA
TALKS
2021
The “Witch” in Relationality With The More-Than-Human: Mutually Shaping Experiences, The Witch Institute, Queens University
Séance, Spirit and Ceremony in the Digital Sphere, The Motherboard: CADN 2021 Graduate Conference, OCAD University
2020
The Absence of the Witch, Medusa Graduate Conference, University of Toronto
Remaking the World: What does it mean to work across disciplines today?, Canadian Art, Artist Project Contemporary Art Fair
Hannah Zbitnew (b. 1996, Toronto) is a textile artist living and working in London. Her woven forms and craft objects are steeped in folkcraft tradition, using repetition and the communal archive as touchpoints. Rather than faithful recreations; her work is devotional in nature, a nod to the gestures of making.
She holds a BDes from OCAD University and an MA from the Royal College of Art.
Hannah (2022, above)
Anna (1910, below)
Anna (1910, below)
works
2025 - 2017
The Weaver’s Arms at Projects Kavel Rafferty, Margate, Kent.
Photos & scans by Hannah Zbitnew (1, 7 - 11), Amy Hzu Tsu Chen (2-4) & Phill Barnes (5-6)
An ode to repetition, folk craft and the communal archive, pictorial weavings, costume outlines and threading drafts co-exist as renderings of Doukhobor textile techniques. Drawing from Zbitnew’s Doukhobor heritage, the work of once-known craftsmen and contemporary dress theory, her work serves as an acknowledgement to the intimate gestures of weaving and the effort of being a custodian to objects and their histories.
The Doukhobors share the Orthodox tradition of hanging their most intricate handwoven tea towel in pride of place; the main difference being the presence of a religious icon. The Doukhobors have no idols, and so the huckaback linens rest on the wall as a testament to skill, collectivity, and spirit. This work endeavours to do the same.
The Absence of the Witch Doesn’t Negate the Spell as part of Emotional Objects at Xpace Cultural Centre, Toronto.
Images by Polina Teif (1) and Lisette Dunin-Markiewicz (2 - 4)
The Void is Soft as part of the 70th Annual Glasgow School of Art Fashion Show at the Art School, Glasgow
Images by Karlie Wu (1, 2) and Hannah Zbitnew (3)