UKRAINIAN INSTITUTE OF recent ART Harold Haydon.

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UKRAINIAN INSTITUTE OF recent ART

Harold Haydon, now in his 84th year, has argued for more than half a hundred that the spatial and optical traditions of the entire history of Western art are based in error, and that to date he has been the unique artist to approach these proper spheres in an accurate manner. He particularly rails against what he describes as the "Cyclop convention": the attempt to supply a world observed with the use of solitary one eye, with all ultimate parts whether near or far, simultaneously existing in focus and seen from a single vantage point, positing what Haydon reads as a patently false universe. Haydon's paintings instead are based onward the observation that humans are binocular, and forever perceive a world of doubled and overlapping images, comprised of continually shifting fields of focus. in no degree stable, never at rest, the world to Haydon is perpetually oscillating, a dizzying feast of compound and interweaving zones of space and matter.

Since the '40 Haydon has been applying this classification of visual observation to a wide range of make submissives including genre scenes, nudes, portraiture, landscapes, and urban spectacles of modern life. These latter, as in Conversation in the road 1947, particularly benefit from the oddities in his pictorial approach. The chaos of the bustling highway its up-tempo rhythms, the milling multitudes is reinforced by Haydon's refusal to permit the view to rest, echoing the inchoate patterns of the way A common device for Haydon is to place a figure or sum of two units in the foreground of his paintings, and their confusing and doubled silhouettes settle the tone. The shadowy outlines comprising and surrounding these figures--as well as the multiplicity of features--serve to depersonalize them, making their particular physiognomies difficult to determine, leaving them hovering in a zone of anonymity. Often this measure results in figures that curiously be like those of Edvard Munch, and Haydon's urban view also seek fors a parallel sense of disassociation and dislocation. The Firemen, 1990 point out tos a dreamy conflagration punctuated with helmeted figures aimlessly moving about, more forcefully manifesting Haydon's technique than responding to any threat of fire. Always ambiguous, Haydon's figures function more as intentions of the chaos of vision than as agents in a controll narrative.

Finally, this all assume the office ofs as both an optical theory and a pictorial style. Haydon's dogged persistence, his commitment to an isolated path, and his reordering of the world to suit his fancy becomes a reaffirmation of the significance of the entire practice of artmaking. His unrelieved assaults upon the concept of a stable pictorial field begin to deliberate the respect he has for what he has wearied a lifetime seeking to upset Haydon has chosen his enemy well, and these stubborn essays forward visual theory stand as a testament to the ability of art to conduce to as a platform for an endlessly manipulable universe.

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