Rhianna Hanworth’s sculptural practice investigates what it means to have a body or to be one. At its core is a fascination with the space between body and object, where the work functions as a bridge between the two. Behaving as a kind of prosthesis, her sculptures impose limitations which give way to new modes of being, inviting both maker and viewer to experience a displacement of self. By pulling herself out of singularity and thrusting herself into an object, Rhianna seeks to cultivate empathy for the inanimate; to feel flesh bound to metal, beeswax or latex as one might feel a limb.

Her sculptures operate as tools for embracing her own condition of body‑hood: they are sites of inquiry and acceptance. Material juxtapositions generate erotic, playful tensions that ask us to reconsider boundaries between organic and inorganic. Drawing inspiration from kink culture and ephemeral natural forms, Rhianna layers references to destabilise conventional hierarchies of objecthood.

Ultimately, her work is a proposition: that the body is never simply given but always made (and remade) through its prosthetic extensions. In inhabiting these sculptural appendages, we discover other capacities of flesh and feeling, and a deeper empathy for the objects that both shape us and are shaped by us.