Born and raised in Southampton.
BA (Hons) Fine Art from Chelsea College of Art (UAL)
Erasmus course as part of second year at Chelsea, studied at BEAR ArtEZ in Arnhem, Netherlands
Since moving to Glasgow, Hayden has been focusing on the historic industry of shipbuilding in and around Partick. This journey started with a wide range of research into the history and environments surrounding the Clyde and river based industries in and to the west of Glasgow. Throughout time, the focus shifted inwards and Hayden has been trying to reconcile with his own family history in relation to nautical activities and environment. Coming from Southampton and having a family history based upon the channel island of Guernsey, he questions and examines the idea of inherited knowledge, attachment and what we can claim as home and our key influences.
Travelling around Scotland, Hayden has compiled/collected multiple materials relating to sailing from sailmakers and enthusiasts that wanted rid of the materials, to create a sort of family tree focused on his nautical/marine heritage. This use of authentic/utilitarian materials is a key component of the work as he tries to express his ideas by repurposing and reanimating discarded but specialist equipment. The journeys and experiences of collecting these pieces talk to his interest in movement.
Cutting his painter
The piece, “Cutting his painter”, works as a sort of nautical family tree, presenting the achievements, vessel names and scope of the voyages taken during Hayden’s ancestors lives. It represents a deep level of interest through a variety of visual language, by the the use of text, coordinates, stencils and the amalgamation of specialist materials and processes.. This is all presented on 10m high sails, that the artist collected from local Scottish sailmakers and enthusiasts and has then stitched together himself. The work not only reanimates the authentic material and the history of his past but also speaks to the disconnection/connection he feels to this lineage, family and in turn the island of Guernsey. Hayden was born and grew up in Southampton, so sees himself to be a product of that city, yet a lot of his upbringing and life has been influenced by stories told, brief memories moulded in his mind with old photographs and the odd visit to the island when he was a child. He questions and examines the idea of inherited aptitudes, knowledge, attachment and what we can claim as home and our key influences.
This work was inspired by the Joggling Press situated in the yard, at the Scottish Maritime Museum in Irvine. The original machine, was built by Hugh Smith & Co of Possil in Glasgow in 1916 and bought in the same year by Brys & Gylsen Ltd, River Clyde Shipbuilding Works, Whiteinch.
Drawn initially by the imposing presence of the Joggling Press, Hayden was curious to discover and explore the machine and its context. Although attempting to make an accurate representation of the apparatus, the artist plays with the contrast between his choice of flimsy materials and the weight, sturdiness and physically impressive nature of the original. By his use of cardboard, patched and layered together in a free way, he recreates this cumbersome and utilitarian contraption with new qualities. This art work can be easily moved, bend and adapt to whichever environment it is placed in. It lacks the intense rigour and accuracy in its design and construction which was vital to the creation of the original machine. Each cardboard sheet has been treated to create an interpretation of the rusty nature of the weathered metal, giving the artwork an impression of weightiness that it does not actually possess. The use of chalk to illustrate some of the curves of the machine echoes its use and importance in the shipyards at many stages of the construction process, aiding communication between different trades. Because of its transient nature many of the tradesmen’s chalk marks were obliterated or concealed within the hulls, still surviving within ships today. Machines like the Joggling Press were built to last, yet this replication will not and may change due to deterioration over time.
This artwork was part of a project that resulted from researching historic industries, activities and key locations in an attempt to understand my new local area of Partick. The work was made to commemorate the former Meadowside granaries that were once a key landmark for many generations living and around this area. The particular research focus was upon local riverside communities and the iconic shipyards that flourished there.
The image was to be reproduced on the blue chipboard hoardings surrounding the previous site of the Meadowside shipyard, once run by Tod & MacGregor and later D & W Henderson. The use of chalk rather than spray paint was in reference to its key use as a material in the shipbuilding industry, where it was used for measurements, calculations, communication and graffiti. Its transient qualities made it the perfect medium in such an industry. The once imposing infrastructure of the area, like the chalk has since disappeared as would my stencilled chalk due to exposure to the weather.
The research was prompted by a lack of physical evidence or information remaining in the locality to bear witness to the industrial past. The transient student community that occupy the accommodation blocks in the area are likely unaware of the former importance and significance of their environment and the livelihoods it sustained in the past. The stencils were 2.4 metres tall.