James Hayward, ‘Shadows of Ideas: 9th Variation’, 2000, Painting, Acrylic on canvas, Laguna Art Museum Benefit Auction
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James Hayward

Shadows of Ideas: 9th Variation, 2000

Acrylic on canvas
12 × 18 in
30.5 × 45.7 cm
Bidding closed
Laguna Art Museum Benefit Auction

A gifted colorist known especially for the rich surface textures of his paintings, James Hayward …

Medium
Image rights
Courtesy of Peter Blake, Bennett Roberts, and Miles McEnery
James Hayward
American, b. 1943
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James Hayward's focus on the monochrome easily positions his interpretation within the lineage of abstract painting, from Malevich and Mondrian to Reinhardt and Ryman. They exist as immediate visual experiences apart from any representational reference, where the reception of the work is reflected within the work itself. Hayward's paintings are phenomenological things-in-themselves, inhabiting the space between complexity and singularity as self-contained entities; the paintings record time, and are akin to non-literal diaries. Every subsequent marking, built up from the surface to the point where they form sculptural peaks and fissures, is pivotal to the structural physicality of the work. This process creates an irreproducible distinct identity that dually epitomizes and affirms the physical act of painting. The end results are seductive studies of color effortlessly intertwining with the materiality of paint.

James Hayward, ‘Shadows of Ideas: 9th Variation’, 2000, Painting, Acrylic on canvas, Laguna Art Museum Benefit Auction
Save
Save
View
View in room
Share
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Laguna Art Museum Benefit Auction

A gifted colorist known especially for the rich surface textures of his paintings, James Hayward (born 1943) is one of the most widely acclaimed abstract artists of Southern California. He has received numerous awards, including a John Simon Guggenheim Memorial Fellowship (1983), a National Endowment for the Arts …

Medium
Image rights
Courtesy of Peter Blake, Bennett Roberts, and Miles McEnery
James Hayward
American, b. 1943
Follow

James Hayward's focus on the monochrome easily positions his interpretation within the lineage of abstract painting, from Malevich and Mondrian to Reinhardt and Ryman. They exist as immediate visual experiences apart from any representational reference, where the reception of the work is reflected within the work itself. Hayward's paintings are phenomenological things-in-themselves, inhabiting the space between complexity and singularity as self-contained entities; the paintings record time, and are akin to non-literal diaries. Every subsequent marking, built up from the surface to the point where they form sculptural peaks and fissures, is pivotal to the structural physicality of the work. This process creates an irreproducible distinct identity that dually epitomizes and affirms the physical act of painting. The end results are seductive studies of color effortlessly intertwining with the materiality of paint.

James Hayward

Shadows of Ideas: 9th Variation, 2000

Acrylic on canvas
12 × 18 in
30.5 × 45.7 cm
Bidding closed
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