Und noch während wir diesen letzten Satz schreiben, der nicht mehr korrigiert werden wird, gestehen wir, uns einer einzigen Sache ganz gewiss zu sein - wir schwören unter Androhung der Todesstrafe, dass wir dieses eine Versprechen halten werden: Wir werden leben!
Die letzten Zeilen. In: Viet Thanh Nguyen, Der Sympathisant. Dt. v. W. Müller. München, Blessing, 2017.
Nancy Haynes (born 1947, lives in New York, NY, and Huerfano Valley, CO) titled her upcoming exhibition at Galerie Hubert Winter “paintings: to the poets”, an homage to her favorite authors and poets, resources of her inspiration and gratitude. It is a very personal list of names. An acknowledgement of their writing.
The palette of her new paintings, mostly opaque, is hounded by light and darkness truly in the tradition of Western paintings. Horizontal screen-like formats provide the corpus. The surface’s physicality differs from one painting to the other. The enigmatic paint is applied pure and abstract. Painting as a fact. Non-objective works become objects that hold timeless transcendence. Nancy Haynes creates alterity through the compression of light. Looking at her paintings and seeing the movement of shades it is obvious that nothing is in place – an immanent renewed deconstruction in each work, a metaphysical immediacy.
Nancy Haynes’ oeuvre is built through an open-end approach to painting and color and to a defined timelessness.
It holds the impermanence of the deep secret of our times.
Her work is included in major American and European museums and private collections. The list is extensive and includes paintings at the Metropolitan Museum of Art and the Brooklyn Museum in New York, Museum of Fine Arts, Houston, the Bonnefantenmuseum in Maastricht, the Gemeentemuseum in Den Haag and others. Works on paper are, to name just a few, at the collection of the MoMA and the Whitney Museum of American Art in New York, at the Harvard Art Museum in Cambridge and the National Gallery of Art in Washington.