Hadyn’s art practice explores relationships between past and present, the real and imaginary, history and myth.
“Much of my work over the years represents an ongoing interest in how we connect with our environment and what sort of magic we can conjure from that relationship”.
Many of these projects have referenced historical and narrative imagery that as he explains “attempts to define our contemporary situation within the context of art history, inheritance and society, and particularly how these factors might impact on our environmental future”.
Living the creative life for over forty years he spends his time between his studio and home in Wollombi and his Sydney studio at Coburn Fine Art in Georges Heights, Mosman. Although having moved between these two locations for many decades, the stimulation of these two very different environments has somehow worked in a way that provides constant inspiration.
His very diverse career has included paintings, public sculpture, and what he calls ‘cut-outs’ (low-relief paper sculpture), as well as experimenting with many mediums. “Looking back over the years I’ve come to realise that although having experimented in different ways, the consistent thread is the nexus between humanity and environment”.
Hadyn is currently working on his ‘light box’ paintings inspired by his fascination with the concept of stained glass windows as well as an exciting public artwork called ‘Locus Non Consequensia’ which will be ongoing.
In 2009 his PHD graduate exhibition at Cessnock Regional Art Gallery called ‘Stories from the Archive: A Palaeobotanical Narrative’,
Director and Gallery Curator, Virginia Mitchell said of his work: “Artist, historian, scientist, environmentalist and curious onlooker Wilson seeks to tease out multiple layers of understanding and engagement with nature”.
In 2007 his survey show at Manly Art Gallery and Musem, ‘Hadyn Wilson: A Real Allegory’,
John McDonald in his Sydney Morning Herald article, ‘A ribbon for artistic pedigree’ (April 2007) said of his work: “Contemporary art can be a frivolous affair, but not for Hadyn Wilson (b.1955), who sees content and meaning as paramount. Wilson is a genuine history painter who does not simply address “issues” in a superficial way, but looks hard at the details. His preoccupations are social, political and environmental, but he filters these interests through the lens of art history, as if to remind us that the battle between nature and culture has an age-old artistic pedigree”.
Critics have variously described Hadyn’s work as challenging and surprising.
In his sell out exhibition at New South Wales House in London in 1985, Patricia Still in the The London Weekly Diary described his work thus “Ably supported by a mastery of his medium, his oils show a view of the world where everything is brightly painted curtain cloth while his drawings are strange but intriguing mythologies of crowded figures”.
Bruce James in the Sydney Morning Herald in 1999 referred to Hadyn as an artist who is an “underrated star who paints up a storm and a story”.
Terrence Maloon in the Sydney Morning Herald in 1986 spoke of an artist with “exceptional graphic abilities”.
His most recent exhibitions ‘The Sydney Artist Camps. An Historical Novel’, Mosman Art Gallery (2017-2018) and ‘An Historical Novel. (An Archive of Found Artefacts), Frances Keevil Gallery (2018) predominantly responded to the Howard Hinton Collection of painters (Tom Roberts, Arthur Streeton, Sidney Long and Elioth Gruner). This exhibition will be touring the New England Regional Art Museum (NERAM) in August 2019.
Katrina Cashman, who curated the exhibition said of his work: “Hadyn Wilson’s large scale installation of appropriated images is a tour de force. It invites close inspection as each painting presents a revisionist expression based on original masterpieces of the time, in a comment on the era’s fabled histories and the reliable and unreliable narratives that surround them.”
Hadyn Wilson has over the years defended his position of a self-conscious diversity and sees this as a principle of his underlying philosophy. To quote from Guy Warren. “Many years ago I decided that, unlike some artists I know I wasn’t going to paint exactly the same picture all my life. That might be great for the bank balance but it’s bad for the soul. When you start copying yourself you die”.
Hadyn graduated from the Julian Ashton Art School, Sydney in 1975 and in 1992 completed a Graduate Diploma of Art through the Australian National University, Canberra. In 1995 he completed his Masters of Fine Arts (Class 1 Honours) at COFA (University of NSW) and in 2010 he received his PHD at the University of Newcastle, NSW where in 2012 he was a Finalist in the ‘Newton-John Award’.
Hadyn had early career success in 1983 winning the Sydney Morning Herald Travelling Art Scholarship and awarded the Art Gallery of New South Wales ‘Dyason Bequest’ which took him on a study tour to the UK, France and Germany. In 1990 he won the Qantas Amnesty International Figurative Award which included a study tour to the US, Amsterdam and Prague. He’s had countless solo and group exhibitions throughout Australia and overseas and two major survey exhibitions in regional galleries here. He’s won a number of prizes, including the 2011 Gallipoli Art Prize and the 1988 Mosman Art Prize and has been a finalist in the 1990 and 1983 Archibald Prize, 1999, 1988 and 1987 Sulman Prize and 2016 and 1996 Wynne Prize. His artworks are included in many respected collections such as the Australian National University, Manly Art Gallery and Museum, Manning River Regional Gallery, Mosman Art Gallery, University of New South Wales, University of Technology.
‘Book of Hours, Days, Weeks, Months’
Sydney Studio. Working on ‘Bush to Bay: Hinton and the Artists’ Camps’
Locus Non Consequensia. Manly Arts Festival 2017 (inaugural launch)
Photo by William Yang. Julian Ashton Art School, 1992