Dan Hays Presentation, Weds 19 Nov 2014

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Dan Hays

Visiting Speaker 19 Nov 2014, 11 AM Lecture Theatre (MK045). Everyone is welcome to attend.

 

Hays has a long-term interest in mediated imagery. In previous works, he used found images and his own photographs as sources for his paintings. He claimed, ‘My aim has been to emulate the qualities of video and poor quality printed material (like mail order catalogues) in paint’ (quoted inDan Hays: Paintings, p.30). These early works, like paintings from the Colorado Impressionsseries, raise issues of authenticity. Hays does not claim the source material for this painting as his own; the work’s title refers to the other Dan Hays, complicating the question of authorship.

Hays’ meticulous process recalls the experimental techniques of the Impressionists and Post-Impressionists in late nineteenth century France. Hays the artist described this connection to his American namesake in an email, saying ‘There is a parallel between the way computers compress images with “JPEG” and the way that the Impressionists or Cézanne strove to reduce the amount of painted information to aid in speed of production and capture, yet also to reveal the essence of a scene’ (quoted in Dan Hays: Paintings, p.30). Hays has made several paintings based on the view used for Colorado Impression No. XIB, recalling the landscape series of Claude Monet (1840-1926) and Paul Cézanne (1839-1906). Hays’ method of constructing his image from small, unblended blocks of colour also recalls the Pointillist technique of Georges Seurat (1859-91). (Text Tate Britain: http://www.tate.org.uk/art/artworks/hays-colorado-impression-11b-after-dan-hays-colorado-t07946/text-summary)

Further reading:
Ulrich Krempel, Dan Hays and Frank Lamy, Dan Hays: Paintings, exhibition catalogue, Junge Kunst e.V., Wolfsburg, 2001.
Simon Grant, Dan Hays, exhibition catalogue, Entwistle, London, 2000.
Alex Coles, Barry Schwabsky, Catsou Roberts and Stephen Hepworth, Shimmering Substance / View Finder, exhibition catalogue, Arnolfini, Bristol, 2002