by Zara Yost
Pittsburgh owes much of its celebration of childhood to Mister Rogers, whose award-winning television program aired from 1968 until 2001. It’s not surprising then that many Pittsburgh artists feel inspired to delve into their childhood experiences, creating works that explore themes of innocence and imagination. One such artist is Isla Hansen, who has taken a page out—or rather a scene out—of Mister Rogers’ Neighborhood and intricately woven their imaginative world into a remarkable feat of adventure, reflection, and play. Hansen, a Pittsburgh-based artist, focuses on children’s media, play, labor, and interactive digital processes in her art practice. She is a Carnegie Mellon University School of Art professor and is the Co-Director of Programming for The Folly Tree Arboretum, a non-profit organization based in Springs, NY. Hansen’s latest exhibition, How to Get to Make Believe, is showcased as part of her artist residency at the Mattress Factory Museum. Dawn your pixie dust, or hop in your Studebaker because Henson’s, oops, I mean, Hansen’s work will take you on an imaginative ride.
The intricate details and unique characters of Hansen’s art are a testament to the artist’s boundless imagination and skillful execution, making each piece an unforgettable experience. Imbued with a sense of liveliness and originality, Hansen draws inspiration from the classic and canonical television shows that once influenced much of America during the 1970s, 1980s, and 1990s. Hansen possesses a remarkable aptitude for translating abstract themes into visually appealing art pieces that can be appreciated by anyone, similar to the television shows or commercial characters she is inspired by. During her residency at the Mattress Factory, Hansen was able to bring her artistic vision to life, offering the public an opportunity to witness the magic and creativity of her work firsthand.
Hansen’s talent lies in her ability to transform these themes into a tangible, wondrous, and strange reality. As you wander through the spacious and dreamlike second-floor gallery, you’ll find yourself immersed in a captivating and theatrical world that artistically blends installation, sculpture, and video. The rooms seamlessly integrate with one another, creating a stunning and cohesive stage-like setting that serves as the perfect backdrop for Hansen’s mesmerizing creations. From the intricate sculptures to the thought-provoking video interviews, every aspect of the exhibit is designed to transport you into Hansen’s imaginative world and leave you in awe of her artistic vision. Like Charlie Bucket stepping into Willie Wonka’s Chocolate Factory, Hansen is figuratively Gene Wilder, ushering us on into each alcove of fantasy.
As you walk into the first room, you will be immediately drawn to the massive purple volcano that dominates the space. The volcano is crafted from a combination of wool, fabric, and paper clay and is positioned atop a rocking chair and is like a part Grimace, part Purple People Eater. Its green eyes are strikingly expressive, and its partially open mouth gives the impression that it is mid-sentence. The volcano is part of Hanson’s installation, Believe, and is designed to resemble a puppet-like figure with bulbous greenery surrounding its base. The smoke rising from its crater adds to the overall effect, giving the impression that it is an active and dynamic creature. The intricate details and textures of the volcano make it a vibrant and impressive piece of art.
A trolley in the same room, adorned in a woolen cover, speeds past like a fuzzy caterpillar inching along. Its exterior looks familiar, reminiscent of the trolley used in Mister Rogers’ Neighborhood, providing a sense of nostalgia and warmth. The fabric encasing the trolley seems soft and inviting, almost as if it were beckoning you to hop on board and take a ride to a cozy and comforting place like the catbus in Hayao Miyazaki’s Totoro. Hansen’s work incorporates themes from several childhood films and shows.
Next to the trolley tracks is a miniature model of a brick building labeled Ossabaw’s #1 Hardware + Plus. A sign out front over a little pig face doorknob says, “Closed Until Further Notice Due to Supply Chain issues.” The building is empty of inhabitants. Still, the black and white checkered floor and the tiny tables, desks, and chairs are set up like a workshop reminiscent of the Pittsburgh Center for the Arts & Media. Hansen may refer to the closing of the Marshall Mansion in 2019, when there were 42 staff terminations, and operations moved to the Scaife Mansion, which the sculpture most closely resembles.
Ossabaw also refers to one of the largest islands off the coast of Georgia and is loosely translated from Creek Indian to “land of holly.” Hansen has created a lush green landscape on the walls and within the installation of Believe to denote this hollyland. Curiously, pigs are also a frequent theme, from the doorknob on the model to the pink whiteboard on the wall and the pig-nose-like sculpture next to the volcano. Ossabaw is eponymous to the island’s hogs. The animals contradict their species because they cannot bulk up like other hogs. With this detail, Hansen suggests that the lack of funding for the arts in Pittsburgh, including the notoriously underpaid staff at the Mattress Factory, reflects scarcity, as seen in hogs that can’t fatten. And yet, the Ossabaw is regarded as the finest pork to be had on the planet.
The painted grassy landscape continues into the second room, but Hansen has built a sette instead of a creature. It has a cabriole-like backrest, plush green armrests, and rounded, tufted thorns accentuating the fabric. Instead of seat cushions, four wavy, wooded pieces are slotted through the sofa. The shades of blue simulate waves lapping inside the furniture frame, as if the loveseat was full of water. It has a stunning aesthetic appeal, albeit lacking in practical functionality, reminiscent of Patrice Letarnec’s 2014 about a lounge sofa, and 2009 softshell chair. A television playing looped videos of interviews with Ratlet, a puppet invented and fabricated by Hansen, is facing the sofa. The room is set up like a small stage, with film lighting and equipment in the corner and various puppets, including a pig in overalls, hanging on the wall adjacent to the screen. The phrase “From the mouths of babes” comes to mind. Hansen highlights the wisdom that programs like Mister Rogers Neighborhood can possess. Though the programs are directed towards young children, valuable lessons and insights can come from unexpected sources. Children may lack experience and knowledge, but they have the ability to be insightful.
The other two gallery rooms are ajoined. A model of Pittsburgh in one, and another stage-like installation much like a production is prominent in the other. The model is clearly a homage to Mister Roger’s own model used in the television series. The production room is equipped with a giant curtain hosting shelves of both real toys and toys manufactured by Hansen. There is a wooden stage painted green and two wooden benches that were crafted by Hansen herself. One of the benches is where Ratlet, the puppet, is resting. The set is enclosed with soft sage-green rope along the installation. Hansen has put forth an ambitious plan to utilize the available space in order to produce additional “episodes” of interviews with peers and guests discussing contemporary art, social, and cultural issues. These interviews will be similar in style and substance to the ones that were previously exhibited in the room with the couch. Hansen intends to continue the tradition of fostering an environment that encourages open and honest conversation, while also expanding the scope and reach of the project.
Hansen’s art is a visual feast that transports viewers to a fantastical realm filled with otherworldly creatures. Each piece is a surreal, enchanting, and eerie creation, beckoning the audience to step inside and explore the strange world that Hansen has fabricated using puppets, hard and soft materials, toys, and digital media.
Isla Hansen’s How to Get to Make Believe is on view at the Mattress Factory until March 30th, 2025.
Zara Yost is an interdisciplinary artist, curator, and writer living in Pittsburgh. Her career is heavily influenced by her time in Chicago’s music and art scene. She has written for publications such as Newcity, the Chicago Reader, and Fnewsmagazine. Zara is best known for her work with organizations such as the Museum of Contemporary Art Chicago, United States Artists, Boston Society for Architecture, and The Roberto Clemente Museum.
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