In his multivalent practice, Hayward frames each work himself, with hand-stained wood. He uses oil bars to mould forms within the work, which are then scored to impart the effect of high relief embroidery. Other detailed sections are created using traditional oil painting methods. His distinctive style includes various methods of scraping and incising a surface prepared with several layers of gesso and paint.
Hayward works primarily in oils- paints, bars and pastels, to create these complex, textured surfaces. Different forms repeat and interlock with each other, and there is a dissolution of stylistic boundaries, creating a new hybridised aesthetic. The lower section is alive with small, bright bursts of colour and tactile, embroidery-like, yet solidly sculpted sections, suggesting a paradox of textures. In A Painting for Anwar Shemza and Ellis Dee, there is an interplay between the different sections of the painted panel- from the flatness of the long dagger-like shapes inspired by antique handmade patchwork quilts, to the spatial depth of the window-like sections opening into mysterious, shapeshifting landscapes. He is interested in the universality of the mystical and otherworldly states of flow achieved through various creative experiences, privately or communally, that help in ascending to a different mental plane. Abstract forms inspired by local landscapes, sit alongside shapes influenced by Yantras- mystical diagrams from the Tantra tradition, which have symmetrical forms, and are painted as aids in meditation. They also enter into a conversation with art history, and are irreverent homages to an eclectic group of abstractionist and landscapist predecessors of both British and South Asian origin- a reflection of his own diverse heritage. Often works are displayed in pairs alongside their conceptual ‘partners’, to create a visual tempo.Įxploring the visual possibilities of sound, textile traditions and landscape painting, Hayward’s works straddle the porous boundary between abstraction and representation. The paintings include rhythm and movement through repetitive or doubled up patterns and forms. An interest in the histories and rhythms of various styles of music and textile patterns, exploring their deep interconnectedness, and the atmosphere they set, has also inspired various compositional decisions. Handmade textiles from South Asia and West Africa, which form an important part of the memories of his childhood home, continue to influence his work. He is especially inspired by the subtle, repetitive, and hypnotic rhythms of various electronic music subcultures, which originated in the 80s, and to which he was first introduced by his older sibling.īesides music, there is an amalgamation of several different and disparate strands of thoughts converging in his work, which reflect his own diverse life experiences and cultural background. The reference is an acknowledgment of the important role played by various genres of music in shaping the visual language of Hayward’s work. The title of the exhibition comes from a playful phrase, originally used by pirate radio DJs in the 90’s, before playing a popular tune again.
He turns his attention to objects, experiences and memories, to closely observe the lived experience of home, and consider it as a site for creative practice and cultural identity. In these new works, Hayward examines how his own sense of self and personal history is tied to the domestic realm.
#INDIGO PLAY SERIES#
The new series of paintings, made over the past one year, incorporate a diverse range of cultural references and explore our relationships with domestic spaces, the pursuit of personal joy, and construction of cultural identity. Indigo+madder is excited to announce its first solo exhibition with Haroun Hayward, Too Nice, Play it Twice.
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