Women on the verge of a war breakdown
In Hayat’s work, there is a strong and deranging dialogue between luxury and violence.
History overflows with it, both during periods of decadence (for instance with the Romans), and of rebirth, as in the Renaissance. Such a remark is particularly interesting, when at a first glace – or to a superficial morality – the alliance beauty-money-sex-drug and blood only appears as a symptom of the end of civilization.
The coupling luxury-violence is as nefarious as the bond that unifies desire and beauty. Triumphant beauty can crash what does not live up to its perfection, driven by a sense of contempt or by the mere pleasure to destruct. Such a demonic coupling can breed feelings of adoration and respect, as well as hatred and violence, all representing different forms of passion in the very etymological sense of the term, meaning what causes sorrow. As luxury is considered one of the most outstanding manifestations of beauty created by men, it is sensible to reckon that the sentiments it inspires also reach their height.
Following this line of reasoning, the works proposed by Hayat in this new series are perhaps not the uncertain objects accidentally besieged by conflict – inadvertently hit by stray bullet as it were. Those bags are the veritable object of rage.
In a deeper quest for incarnation – attached to the perverted necessity to have the female figure as the object of this impudent luxury – the gunman looks away, targeting those women who recklessly brandish such emblems of beauty and wealth.
Thierry Martin, 2014
About Yves Hayat
b. 1946, Egypt