Conceived as a single work comprising sculptural, moving image and photographic elements, the project was distributed throughout various spaces across multiple levels of the Gallery.
The sculptural elements, Part 1, The Emissaries: Keepers of our stories was assembled into two large groupings. One, comprising fifteen figures, responded to the weighty history and spectral materialisms of the neoclassical gallery's marble, granite and sandstone Entrance Vestibule. The other group, comprising eleven figures, was installed in the adjoining, modernist inflected Grand Court amidst its airy glass panes and travertine planes.
The moving image component, Part 2, Withness: A haunting was presented in the context of the 19th century sculpture collection in the gallery's Old Courts.
The photographic component , Part 3, Continuum: The persistence of being was presented at the very end of the exhibition on Lower Level 2.
O summon out of memory
So that all may fear it
From the blood and fever
Of our passionate and forever
As men remember
Of the beautiful, musical
Of flesh, long, limber:
And deduce: how
In the consummate brow
Such cruelties dwell
As into eternity
Flushed the subservient blood,
Flattened our silver cities
And covered them with wood.
Frederic Prokosch, from ‘The Assassins’, 1936
Andrew Hazewinkel’s subject is antiquity, not only its residue materials but also its contemporary spirit. He investigates where antiquity resides now and where it is going. He shows how there is a force in the past. Mixing memory and desire (to borrow T.S. Eliot’s famous phrase from The Waste Land) he shows how this force persists in the present while pushing into the future. And he shows how this force can be accessed artistically as an aesthetic ardour, as an agitation of feelings aroused by culturally charged old fragments that can act, over time, like catalysts for your thoughts and emotions.
To paraphrase the Welsh poet R.S. Thomas, the best artistry “arrives at the intellect by way of the heart”.1. Dionysian as much as Apollonian, equally carnal and mindful, Hazewinkel’s work prompts you to consider the continuous pulse in the past, to channel the animus of antiquity so it might guide your future wishes and actions.
Equally sacred and profane, Hazewinkel plays with the power of enigma and paradox. He imbues stone with bloodwarm tenderness. He brings a soft, breathing waft and welcome into the crisp, cool light that photography tends to demand. He places objects in proximity to one another such that they appear ready to resume some congress that has already happened among them or among their predecessors. And he suggests how we are all not much more than successors to the blooming, broken, bleeding and abraded bodies that are deposited in all the past times that now agitate the spirit of our material contemporary world.
With Hazewinkel’s work I am always reminded of two favourite quotes that I carry in my notebook:
Robert Pogue Harrison’s assertion that we must absorb the legacy of the past while enacting our most noble rituals so we can make sure that all those people and actions that have thus far composed history can be kept active in the eternally unfolding now … … … “Whatever the rift that separates their regimes, nature and culture have at least this much in common: both compel the living to serve the interests of the unborn … [But the special aspect of human memory-work is that] culture perpetuates itself through the power of the dead.” 2.