Artist Statement
Artemis Hatfield is a multidisciplinary artist working in the United Kingdom. She has a conceptual practice with a post-medium approach to the way they create their artworks. Hatfield’s work is informed by her experiences as a queer and trans person, and she aims to help inform audiences about various facets of queerness, from the personal to political. 

Through her recent projects, “The Transgender Puppet Variety Show”, “The dove returned with a knife instead.” and “Rough Surf / Soft Fabric,” Hatfield explores and examines different elements of queer and transgender experiences. Hatfield’s accessible approach to their work allows for people who are less knowledgeable and experienced with these topics to engage and learn from it, as well as still being able to relate to the artwork. They are inspired by both current and historical activist movements, and subscribe to an intersectional approach to activism and the fight for equality. 

Hatfield also works in education part time, is a freelance designer, and runs independent arts press Delos Publishing alongside her practice. 
       
Contact, Instagram ↗

Education
BA (Hons) Photography, First Class
Arts University Bournemouth
Publications
Anarkiss Zine
The Transgender Puppet Variety Show Magazine
We Resist
Dieu et mon Driot(s)
Pretence Magazine

For publications edited & published by Artemis Hatfield, see Delos Publishing
Exhibitions
Aberrations
Copeland Gallery, London
2025

AUB Summer Show
AUB, Bournemouth
2025

LGBTQ+ Art
The Bournemouth Underground Gallery (BUG), Bournemouth
2025

Aberrations Collective
BEAF Arts Co, Bournemouth
2025

Mental Health in Art
DPC, London
2024

Aberrations Collective
Bournemouth
2024

The Big Art Show
The Art Department, Glasgow
2023

Press
Fluffy Friends with a Fierce Message
Holly Likes Puppets
2025


ArtistDesignerPublisher

The Transgender Puppet 
Variety Show

 Medium:
Short Film, Puppetry Date:
2025

Exhibited at
Aberrations, Copeland Gallery, London
Summer Show, AUB, Bournemouth

'The Transgender Puppet Variety Show' responds to a world that is increasingly polarised and hostile towards the transgender+ community. Through love and friendship, the cast of puppets explore the joys and challenges that face trans+ people in the United Kingdom. They discuss pride, acceptance, and the power of community, as well as their experiences of hate crimes, lack of access to healthcare, and the impact of gender dysphoria. The puppets bring a certain lightness and ease to topics which can otherwise be quite difficult and uncomfortable to discuss, as well as having some funny moments and scenes of love and joy that restore hope and remind us that while times are tough, not all is lost. The film is presented on a VHS Tape, bringing a nostalgic glow reminiscent of our youth that is punctuated with contemporary and mature discussions.

In shedding light on the challenges and joys of being transgender, the film can educate audiences who are less familiar with transness, and foster acceptance and understanding. At the same time, for many LGBTQ+ people, it is an affirmation that they are not facing challenges alone, that there is love and support for queer people, and that there is hope for both the present and future.
                
In Collaboration with
Will Sibley
Robin G. Smith
Celeste Madden
Fay Fragon
Liora Goldstein
Gabriela Zaremba
Dan Bowhay
Mia Lawrence-Yeates
Khushi Upadhyay
Stefi Popa
Evie Williams
Violet Brew

The Transgender Puppet 
Variety Show Magazine

 Medium:
Publication Date:
2025

Published by
Delos Publishing

Additional Images by 
Evie Williams

Featuring Lyrics by
Celeste Madden
This magazine delves deeper into the world, characters, and politics explored in Artemis Hatfield's short film 'The Transgender Puppet Variety Show'. Even if you haven't seen the film, check it out for some fun, facts, and games centred around the transgender community.Through this magazine, The Transgender Puppets have reached even more people. It has been retailed in independent book and magazine shops across the UK and in Europe, as well as some direct sales to puppet fans across the Atlantic.

God Save The Queers

 Medium:
Mixed Media: Spray Paint, Ready-Made Date:
2024/2025

Prints Available - Edition of 10
Price Upon Request

Published in
We Resist Zine
Anarkiss Zine The second iteration of Hatfield's installation piece "God Save The Queers" takes a symbol of a nation that both historically and currently treats LGBTQ+ people and other minorities with such disdain, and uses it as a canvas for protest. Hatfield - arguably - destroys the symbol of the Union Jack with fluorescent pink and green paint, and imposes a bright, unignorable message of queer resistance. 

All The Same

 Medium:
Collage Date:
2024


During their election campaign, Keir Starmer’s Labour Party promised new protections for the transgender+ community, stating their proposals for a reformed Gender Recognition Process would “remove indignities for trans people who deserve recognition and acceptance”.

Following this, the party completely reversed on this promise and others, members of the cabinet openly mocked and denied the validity of transgender identities, and the party pushed forward the Conservatives past efforts to restrict and deny transgender people access to gender-affirming healthcare; a right solidified in the 2004 Gender Recognition Act and - arguably - the Human Rights Act (1998).  This piece features portraits of various contemporary and historical political figures whose words and actions in their positions of power and influence have caused significant harm to members of the LGBTQ+ Community. 

From infamous figures like Thatcher, from whom Section 28 cost livelihoods, growing acceptance, and education about LGBTQ+ lives, to David Cameron who voted in opposition to same-sex marriage and defended said decision until elected as PM, to the more recent and fast-paced slew of Conservative PMs who repeated failed to offer protection against so-called Conversion Therapy, and of course Starmer and Streeting from the current cabinet, whose backtracking and transphobic policymaking is harming more and more queer people every day. 

Untitled (Window)

 Medium:
Writing, Installation Date:
2024
Exhibited at
Aberrations Collective, Bournemouth
Mental Health in Art, DCP, London This work addresses transphobia and other issues faced by trans people, many of which are commonly overlooked or misrepresented by the public, public figures, politicians and the media. 

In the accompanying booklet to the piece there are sourced statistics that evidence each claim made by the artist in the piece, showing that while it is an emotional, personal plea for change, it is also grounded in fact.
After having a transphobic slur shouted at Hatfield just outside their home from a passing car window, she was emotional, scared, and angry. They turned to art to process these emotions, sourcing this passenger-side car window mere hours after the event took place. 

Hatfield channelled their fear and anger into this prose placed on the glass, using this one incident of hate as a focal point to express and educate on a multitude of issues many transgender people live with each day.

Untitled (Journal)

 Medium:
Ink, Typewriter Date:
2024
Exhibited at
Mental Health in Art, DCP, London
LGBTQ+ Art, The Bournemouth Underground Gallery (BUG), Bournemouth In this work Hatfield reacts to an often overwhelming life as a queer person; consumed by a negative news cycle, impacted by prejudice, and navigating the added complexities that being queer and transgender can add to one's life. All their thoughts, frustrations, fears, and petty grievances have been impacted into the page with a manual typewriter, leaving not only an impression from the ink but a physical impression of each character. Each paragraph is layered over the last, creating a visual cacophony that is no longer understandable.
                

Notes on the History of 
Alternative Photographic Practice

Medium:
Cyanotype, Zine Date:
2024
In Association with
Arts University Bournemouth
V&A National Arts Library
Edition of 1 This one-off zine was created in response to a joint brief from the V&A National Arts Library and Arts University Bournemouth. Research in the zine is primarily informed from period texts in the NAL Collection. 

It combines research and practice, documenting the history of alternative photographic techniques as they were recorded and discussed at their inception, alongside contemporary cyanotype prints. 
                

Rough Surf /
Soft Fabric

Medium:
Photography, Book
 Date:
2023/2024
Edition of 3
 Created during the early stages of Hatfield’s social transition, this body of work documents experiments with gender presentation, expressions of dysphoria, and musings about her relationship with queerness. This artist book, completed a year after the images were captured, skews the images by printing on pink paper, as if looking back on this time through rose-tinted glasses - it’s often easier to see these things in retrospect than it is at the time. 
                

Perfidiam Imaginum

Medium:
Photography, Cyanotype
 Date:
2023
Pre-Edit Modelling by
Liora Goldstein This work explores the relationship between humans and nature, in an almost intimate way, using a combination of digital and analogue techniques to create these surreal "faux plants".  This presentation of the human form questions depictions of identity, and challenges the objectivity and truthfulness of the photographic image. The name, “Perfidiam Imaginum” comes from the Magritte painting “The Treachery of Images”.

The Artist is a Fool
with Molly Harris

Medium:
Photography, Documentary of Performance
 Date:
2023
Performance Art by
Molly Harris
Photography & Stop Motion by
Artemis Hatfield Photographic documentation of Harris’ performance artwork, ‘The Artist is a Fool’. 

About the piece, Harris states, “This is a performance that highlights the fact that there's not much difference [between] being a clown or an artist, both play a role and perform how the context expects them to.” Equally, Hatfield continues this role from behind the camera in capturing this erratic and frantic performance.  Hatfield’s documentation of the performance takes the perspective of the audience, alternating between wide shots of the scene and focussing on smaller details, following the action as any viewer might turn their heads. 

The muted colour palette and smattering of greyscale images may seem a far cry from a clown’s colour palette, but this has been used to draw highlight to the intentional actions within the performance, over the circumstantial detail around it. 
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