Catch me if you can (left), I wanna go home (right), Installation view, Stadtgalerie Salzburg, 2012
Photo: Thom Eichinger
Catch me if you can (left), I wanna go home (right), Installation view, Stadtgalerie Salzburg, 2012
Photo: Thom Eichinger
Catch me if you can, 2011, PU, aluminium, 50 x 285 x 235 cm
Photo: Jorit Aust
I wanna go home (left), Pooped (right), Installation view, Stadtgalerie Salzburg, 2012,
Photo: Thom Eichinger
O.T., 2007, ink pen on paper, 21 x 30 cm
I wanna go home, 2011, fibreglass, imitation leather, steel, PU, 240 x 220 x 270 cm
Foto: Thom Eichinger
O.T. (Klosterneuburg), 2010, Fine Art Print, 80 x 45 cm
I wanna go home II
, Installation view, Stadtgalerie Salzburg, 2012
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This search for home is a recurring theme in Hayward. “I wanna go home” was the title of two exhibitions in 2011 and at the same time the title of a groundbreaking piece that was shown there. The black shiny object in the room covered with synthetic leather allows for many associations. Is the piece a “forgotten launching pad”, as Silvie Aigner wrote, or is it a Martian cooker, an over-sized earpiece or even the shelter of ET driven by homesickness? The materiality alone evokes scenes of sexual fantasies and fetish objects of a different type. Precisely given their natural, discrete compactness, to be found in the technical perfection and a size that is geared to the viewer – that is to say, their tamed nature – the piece exerts a pull on the inquisitive viewer whose feelings fluctuate between recognition and perplexity – or to put it differently, somewhere between the familiar and the uncanny. Something similar can be found in the piece Catch me if you can, the title and form of which are dedicated to the subject of refugees. It describes with humor and an ironic undertone coming home as a search for the unattainable.
Like all of Julie Hayward’s photographic pieces, the invitation card to the exhibition “I wanna go home” is strongly encrypted. In the center of the nocturnal motif, there is a brightly illuminated window – glass stones in the shape of a T, promise warmth, but at the same time obstruct someone from entering and send a signal of unattainability. This sense of the unattainable seems to be directed toward the sky or in the process of rising up, leaving the city in the background far behind.
...
show entire text
This search for home is a recurring theme in Hayward. “I wanna go home” was the title of two exhibitions in 2011 and at the same time the title of a groundbreaking piece that was shown there. The black shiny object in the room covered with synthetic leather allows for many associations. Is the piece a “forgotten launching pad”, as Silvie Aigner wrote, or is it a Martian cooker, an over-sized earpiece or even the shelter of ET driven by homesickness? The materiality alone evokes scenes of sexual fantasies and fetish objects of a different type. Precisely given their natural, discrete compactness, to be found in the technical perfection and a size that is geared to the viewer – that is to say, their tamed nature – the piece exerts a pull on the inquisitive viewer whose feelings fluctuate between recognition and perplexity – or to put it differently, somewhere between the familiar and the uncanny. Something similar can be found in the piece Catch me if you can, the title and form of which are dedicated to the subject of refugees. It describes with humor and an ironic undertone coming home as a search for the unattainable.
Like all of Julie Hayward’s photographic pieces, the invitation card to the exhibition “I wanna go home” is strongly encrypted. In the center of the nocturnal motif, there is a brightly illuminated window – glass stones in the shape of a T, promise warmth, but at the same time obstruct someone from entering and send a signal of unattainability. This sense of the unattainable seems to be directed toward the sky or in the process of rising up, leaving the city in the background far behind.
...
show entire text
