The images Yves Hayat provides for our eyes are not about where two worlds overlap, they respond to each other and are, in fact, the true and complex representation of one and the same humanity. It’s easier to speak of a strange unity, an instinctive primary association, even if the use of perfume refers to the civility of human relations.
The work of Yves Hayat on the euphemism of constant threat explores all human mysteries. His originality is in amalgamating artistic sublimation with the reign of violence: no celebration of cruelty but rather its vertiginous self-reflection, via a presentation of the exaltation of life, of the cynical gaze we have when we accept the unacceptable, to make us aware of what we are living. It’s about rendering the tragic beauty of our world as it is and catching the human resentment which is always at work.
Even if our planet seems prey to every atrocity, it is also inhabited, spiritually and romantically, by desire. Each of the perfume bottles conceived by him contains our worlds and as a whole they make the exhibition an explosion of contrasts, gradations where unity is multi-faceted.