“Tarik Hayward pursues his artistic research on materials produced by modernity. Although many of his works use natural materials – earth, wood, stone – which are then tested through various transformations, other projects make direct use of waste produced by human production. Between DIY and recovery business, between ruin and restoration, between alternative thinking and dystopian vision, Tarik Hayward creates works
that claim as much from minimalist sculpture than from performance, while evoking Arte Povera or vernacular architecture by the nature of the materials used.” Nicole Schweizer, MCBA, Lausanne
Tarik Hayward conceives his work as a series of technical experiences realised in a state of emergency, responding to an undefined need.” His works got awarded 2012 the Swiss Award for Performance, Kunstraum, Baden, 2014 the Irène Reymond Award, and 2016 the Accrochage Vaud Award. Latest shows include 2018 Resolutions: Zero. Hopes: Zero. at the Centre Culturel Suisse Paris and Indian Ink, Oraibi books, Geneva, 2017 Neutral Density at the Musée cantonal des beaux-arts, Lausanne, 2016 Birken at Sonnenstube, Lugano and 2015 L’hospice des mille cuisses at the CAN, Neuchâtel and Gothique tardif at Art Môtiers, Môtiers.
SAA: Would you tell us something about the artwork you will present at the Swiss Art Awards 2018?
TH: After a predefined number of prints, printers stop printing. On my epson r2400 the following message appeared: “A part inside your printer is at the end of its service life”. This means one has to discard the printer. But I used an open source software to reset the print counter. In the long run though, I had to circumvent a second obstacle. At each print a small amount of ink is sent into an ink pad, saturating the machine which can no longer function properly. This ink pad, which is a sort of sponge, is located deep in the printer, preventing access for cleaning. But by opening the body I could disconnect and bend a plastic tube to conduct the ink out of the printer into a plastique bottle. This waste ink is added to the buckets of industrial indian ink that I connected to the print head, bypassing the original cartridges. I have been successfully printing my books with various reclaimed dead printers under perfusion. It’s not perfect. I do get some unrealistic colours.
SAA: If you could work with a specialist, from which field would that be and on what kind of project?
TH: For Indian Inkjet, I collaborated with specialists in China, India and Taiwan. Manufacturers of ink, resin cast photographic paper and technological gadgets such as micro chip resetters.
SAA: Is there a place (in and out of Switzerland) that inspires your work?
TH: I hide away in the mountains for the past 5 years, rebuilding and destroying a family house that I bought and which put me dangerously in debt. The exploded bricks that I put on a flatbed scanner for my book Indian Inkjet come from there.
SAA: What is the mark you want to leave behind?