Hamish and Alice Car Talk
Originally uploaded by Clinton_Hayden
Wednesday, December 30, 2009
Tuesday, December 8, 2009
Tom #3
Tom #3
Originally uploaded by Clinton_Hayden
going through a 100 photos, looking for the punctum and the studium.
Monday, December 7, 2009
Camera Lucida
"Barthes considers photography as asymbolic, irreducible to the codes of language or culture, acting on the body as much as on the mind. The book 'Camera Lucida' develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it"
Tuesday, November 24, 2009
Wednesday, November 18, 2009
Tuesday, November 10, 2009
Sunday, November 8, 2009
there, inside the garden - Floor Sheet
Seedling Art Space
"As the peers of emerging artists know, it is all to often the Brash Pack who draw first blood on the contemporary scene. Perhaps to his own detriment, Clinton Hayden has always shunned the transience of the bang for the searing reverberations of the visceral and intimate. In his work quiet things scream and continue to confound, long after shock fades." A.M.K.
'there, inside the garden' takes it's title and inspiration from a PJ Harvey song, and was developed from an initial idea suggested by the Hieronymus Bosch painting 'The Garden of Earthly Delights'. In this case, the garden is empty. Childhood fears of the adult bedroom and what happens inside have developed into ethereal, abstracted images that misrepresent themselves.
The room suggested a hiding place, from the garden in the title and the relationships between the two in the lyric. A makeshift bed for one, by the hearth, suggesting Seedling as a safe haven from the “…trouble taking place”, outside of the room/sanctuary and in the loveless empty space in the photographs - previously occupied by two, in which to reflect and recharge.
And he was walking in the garden
And he was walking in the night
And he was singing a sad love song
And he was praying for his life
And the stars came out around him
He was thinking of his sins
And he's looking at his song-bird
And he's looking at his wings
There, inside the garden
Came another with his lips
Said "won't you come and be my lover?"
"Let me give you a little kiss"
And he came knelt down before him
And fell upon his knees
"I will give you gold and mountains
If you stay a while with me"
And there was trouble
Taking place
Trouble
Taking place
There, inside the garden
They kissed and the sun rose
And he walked a little further
And he found he was alone
And the wind it gathered round him
He was thinking of his sins
And he's looking for his song-bird
He was looking for his wings
And there was trouble
Taking place
Trouble
Taking place
‘The Garden’ PJ Harvey Is This Desire 1998
‘there, inside the garden’ 2009
sheet, knots, Polaroids, cigarette butts
Ten framed 6x8 digital photographs
POA
"As the peers of emerging artists know, it is all to often the Brash Pack who draw first blood on the contemporary scene. Perhaps to his own detriment, Clinton Hayden has always shunned the transience of the bang for the searing reverberations of the visceral and intimate. In his work quiet things scream and continue to confound, long after shock fades." A.M.K.
'there, inside the garden' takes it's title and inspiration from a PJ Harvey song, and was developed from an initial idea suggested by the Hieronymus Bosch painting 'The Garden of Earthly Delights'. In this case, the garden is empty. Childhood fears of the adult bedroom and what happens inside have developed into ethereal, abstracted images that misrepresent themselves.
The room suggested a hiding place, from the garden in the title and the relationships between the two in the lyric. A makeshift bed for one, by the hearth, suggesting Seedling as a safe haven from the “…trouble taking place”, outside of the room/sanctuary and in the loveless empty space in the photographs - previously occupied by two, in which to reflect and recharge.
And he was walking in the garden
And he was walking in the night
And he was singing a sad love song
And he was praying for his life
And the stars came out around him
He was thinking of his sins
And he's looking at his song-bird
And he's looking at his wings
There, inside the garden
Came another with his lips
Said "won't you come and be my lover?"
"Let me give you a little kiss"
And he came knelt down before him
And fell upon his knees
"I will give you gold and mountains
If you stay a while with me"
And there was trouble
Taking place
Trouble
Taking place
There, inside the garden
They kissed and the sun rose
And he walked a little further
And he found he was alone
And the wind it gathered round him
He was thinking of his sins
And he's looking for his song-bird
He was looking for his wings
And there was trouble
Taking place
Trouble
Taking place
‘The Garden’ PJ Harvey Is This Desire 1998
‘there, inside the garden’ 2009
sheet, knots, Polaroids, cigarette butts
Ten framed 6x8 digital photographs
POA
Saturday, November 7, 2009
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Thursday, November 5, 2009
Wednesday, November 4, 2009
Thursday, October 29, 2009
This Is Where I Sleep At Night
garden", but it didn't lend it's self to the abstraction I was doing
with the other shots. I like it just as is, and don't think I'll
include this one in the show.
Tuesday, October 27, 2009
Thursday, October 22, 2009
I'll Never Tear You Apart - Martin Tielli
"The tiger waits in the bushes by the lake,
but I'll never tear you apart.
With a love so pure, our knees will shake
and tremble.
but I'll never tear you apart.
With a love so pure, our knees will shake
and tremble.
There were tracks in the silt where the stream becomes still
...but I'll never rip out your heart.
You're such a gentle a beast-
oh you never got tough,
like I got tough.
Like I got tough.
The faces in the window -
oh, they're just my friends.
I promise I won't let them in.
Oh, they live in the corn,
where they die and they're born -
where the blades go around,
churn up the ground
to open the over-toild soil.
ooooooooo baby.
ooooooooo baby.
ooooooooo babe.
Slashed 'cross the back,
your spine almost snapped.
I put three bullets in its face,
and I hung it from a tree,
for the other ones to see
what happens if
you mess with me"
amazing.... really lost for words when I listen to this song...
Wednesday, October 14, 2009
Lost Self Portrait
putting together my masters application...
Wednesday, October 7, 2009
Thursday, September 17, 2009
Friday, July 3, 2009
Atmosphere - Joy Division
Walk in silence,
Dont walk away, in silence.
See the danger,
Always danger,
Endless talking,
Life rebuilding,
Dont walk away.
Dont walk away, in silence.
See the danger,
Always danger,
Endless talking,
Life rebuilding,
Dont walk away.
Walk in silence,
Dont turn away, in silence.
Your confusion,
My illusion,
Worn like a mask of self-hate,
Confronts and then dies.
Dont walk away.
People like you find it easy,
Naked to see,
Walking on air.
Hunting by the rivers,
Through the streets,
Every corner abandoned too soon,
Set down with due care.
Dont walk away in silence,
Dont walk away.
Wednesday, June 3, 2009
Saturday, May 2, 2009
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Wednesday, April 22, 2009
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Tuesday, April 21, 2009
Tuesday, April 14, 2009
Monday, April 13, 2009
Sunday, April 12, 2009
Thursday, April 9, 2009
Scooter & Jinxx A/W 09 Arm's Universe Tee
http://clintonhayden.redbubble.com/ This is the first 3 T shirts I'm doing in this series... They'll be available for 3 months, and then new ones. Be a pal, buy a shirt.
Wednesday, April 8, 2009
Debut of Scooter & Jinxx: A/W 09 Tees for Sale
Click on the pictures above to get a better look...These are printed on American Apparel tees, so good good fits and things. There'll be more to come...I'll post the designs so you can see better...
Wednesday, April 1, 2009
Wednesday, March 11, 2009
Ramifications of "owning" an image of a subject/object/portion of time/pornography?
Charlie, after a night out, Manchester UK 2004
What are the repercussions of a photograph, in relation to owning a photograph of a being? a piece of pornography?
Taking a photograph, turning the person into an object and that time it was taken into an object, must have some repercussions. The owner of the object - photograph, now has in their possessions a part of the subject/object. And the replications of the subject as object exist in all of the owners world, as well as in the subjects own history.
In relation to pornographic images, this kind of disturbs me.
But I also see the attraction in it. I own, for my personal use, an object that I find arousing, which is beautiful to me, and by my very nature I want to collect and keep things that are beautiful to me for my further enjoyment.
There is a "religious belief that a photograph can steal a soul, imprisoning it within its amalgam of polyester, celluloid, salts and gelatin (or perhaps a CCD if you are into digital photography) is still shared by many cultures across the globe...The soul is believed to be composed of thirteen parts, photography damages or even removes some of these components." (http://www.weddingphotographydirectory.com/wedding-photo/for-wedding-photographers/bleeding-edge-column/art-of-stealing-souls.aspx)
Photography removes and imprisons parts of a soul in the photograph itself. How does this sit in relation to pornography?
What happens to the subject/object after the photograph is taken, developed and distributed?
Notes on the Language of Photography/Photographs
Ellice, Manchester UK 2004TAKE
To take a photograph. You're taking (recording) a piece of time, a facsimile of an object in an instance, for yourself. The image "taking" has 2 methods of recording: 1. Recording an "object" itself in that moment the shutter closes, and 2) Recording your projected idea of what is worth recording in that time, for what ever reason, beauty, attraction, anomaly etc and returning it to object form - the physicality of the photograph itself - to retain.
By both accounts, you have taken something away from Time.
SHOOT
To shoot is to kill, and then (in photography's case) preserve. Photography is both a death and preservation of time. From the moment the image is recorded on film/sensor, that moment is both dead and preserved
To shoot is to kill, and then (in photography's case) preserve. Photography is both a death and preservation of time. From the moment the image is recorded on film/sensor, that moment is both dead and preserved
.
I have issues with time, time escaping, time lost. Sleep sometimes scares me as you go to "sleep" for a period of time, but where were you? Asleep, but where is the time gone? what has happened in that time? With photography, I have the "power" to keep that time, keep the moment, when i see fit, ad it to my catalog of visual language and personal narative: I was here, I saw this, I consider this moment worth keeping as an object.
How does this relate to my growing obsession with portraits/figurative works?
I love, to the point of obsession looking at people. I love people watching, whether it be a the way they dress, the way the light falls on them, the shadows made by their features, the way they hold themselves. I want to record the things I see, for posterity, for pure fact that at that moment in time I've found something beautiful in some aspect of their person. I've found a "punctum" (1) in an "object" (because I turn the body/being into an object by wanting to photograph) that I want to keep, and study at a different time (possibly to discover what makes me as a photographer want to keep this person as an object).
SNAPSHOT
Unplanned, non staged photograph. I've recently been going through some photos I've had on file for quite sometime, searching through "Snapshots" to find "Photographs". I'm unsure of the snapshot, because I set out to make images (photographs in this instance) first and foremost, I don't understand where the snapshot fits in to my image-making vernacular. Doesn't every image I make/take have the power of my history and knowledge in art making behind it, enough so to make it a "Photograph" rather than said "Snapshot"?
Unplanned, non staged photograph. I've recently been going through some photos I've had on file for quite sometime, searching through "Snapshots" to find "Photographs". I'm unsure of the snapshot, because I set out to make images (photographs in this instance) first and foremost, I don't understand where the snapshot fits in to my image-making vernacular. Doesn't every image I make/take have the power of my history and knowledge in art making behind it, enough so to make it a "Photograph" rather than said "Snapshot"?
(1) 'Camera Lucida' - Vintage Classics Edition 2000, Roland Barthes, 1915-1980 pg 26,
Tuesday, March 10, 2009
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