A survey at the Rose Art Museum offers a probing look at the 41-year-old artist’s career as he rides a surge of admiring coverage for his large, eye-catching installations.
When you enter the Rose Art Museum’s main gallery, one of the first things you’ll see is a wooden chair with tools sprouting out of it in all directions: garden shears, a rusty pitchfork, a long ax.
The collection of strangely disfigured school desks – Ankori called it an “uncanny classroom” – was designed to create uneasy resonances with the exhibit’s location at an American university. Hayden is a gregarious conversationalist who laughs easily and speaks in whimsical tangents. But his work betrays an unusual level of focus and attention to detail. The artist was employed for a time as an architect, and brings similar rigor to his sculptures. His pieces are painstakingly handcrafted, such that a tree branch or thorn protruding from a piece of furniture is an organic growth, with no hardware or seams to mar the impression of wholeness.
Hayden, who is Black, frequently makes work that engages with race and masculinity. But he resists readings of his art that are strictly related to his identity.“To someone who's really tuned in to what my work is about, they might see all these things that are more autobiographical in the work,” Hayden said. “But there are other people who can say, ‘Oh, this is like me. This is my grandmother. This is so-and-so.
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