Tag Archive | narrative painting

Los arboles de mierda de Mexico

Los arboles de mierda de Mexico by Cameron Hayes, 2003, oil on linen, 14 x 90 inches.

This is about a taxi ride in Mexico. The driver speeds and swerves in the chaotic streets, a contrast to the careful and calm way he has cut the outlines of the porno images he has pasted on his steering wheel and dashboard. Le Merced, the world’s largest market, has the world’s largest porn section. Porn is so abundant that the merchants use it to wrap their sales. Porn litters the entire area. When you look down, you realize you are walking in a sea of erections and shiny vaginas.

Behind the porn section is a “park” where old prostitutes lean against trees, which have been fenced off to stop people from leaning against them. From behind the trees emerge pimps with vicious dogs on a chain.

On the right is Garibaldi Plaza where all the Mariachis wait to be picked for a party on Friday or Saturday evening. Couples drive up to be serenaded, and frantic hosts go to audition Mariachi bands. Most Mariachis go to Garibaldi Plaza to pretend to have a gig or to try to get in on someone else’s gig. They pose, prance, show off their outfits and generally do nothing to make it look like something.

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On his birthday Endora gave Darrin a magic mirror which the owner can use to swap lives…

On his birthday Endora gave Darrin a magic mirror which the owner can use to swap lives with anyone he captures in it. When Aunt Clara delivers the mirror she crashes the van and the mirror shatters into thousands of pieces and so everyone in the neighbourhood can swap lives with somebody else, by Cameron Hayes, 1999-2003, oil and glitter on wood, polyptych, 56 x 87 inches overall.

On his birthday Endora gave Darrin a magic mirror which the owner can use to swap lives with anyone he captures in it. When Aunt Clara delivers the mirror she crashes the van and the mirror shatters into thousands of pieces and so everyone in the neighbourhood can swap lives with somebody else with unsatisfying consequences.

Darrin is sick of his life in the suburbs and thinks to himself he is possibly sick of his wife Sam as well. He wishes he could have been a football star instead of being stuck in this life. However, he can not identify any other life which he is certain is a better life than his own; and equally difficult to face is the prospect of abandoning his own unique potentials and “special-ness”. He is doubly thwarted by his own doing, as the successful advertising slogans thought up by himself for the company he works for, McMahon and Tate, have made it more difficult for him to identify a suitable life swap by making everybody feel fat, inadequate, and boring with bad skin.

After many attempts Darrin decides the best way to use his magic mirror is to lean it against his house and run circles around it thus producing thousands of Darrins younger than he is in the present and having the opportunities to improve his own past rather than take another life he is unfamiliar with. In this way Darrin can explore all the possible life choices he didn’t take.

However, this plan is discarded as he becomes obsessed with finding the adult women which were once the young girls he had crushes on before he reached puberty, and uses most of his younger self Darrins for this purpose. He is also desperate to have his younger Darrins re-enact episodes of his childhood where he was personally cruel or allowed cruelty to go unchallenged and victims to go unhelped. Using McMahon and Tate billboards Darrin paints the scenes from his childhood he wants corrected. One important victim of his childhood was a girl with a bowel disorder called Carty Farty, who used to get her clothes from the lost property box and as a child Darrin gave her a grubby old tennis ball for a birthday present as a joke.

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Mengele in Argentina

Mengele in Argentina, 2002-2003, oil on linen, 66 x 100 inches.

After the war in Argentina the infamous Nazi doctor Joseph Mengele is fast asleep in his caravan. He wanted to develop his research about identical twins in his lounge room, kitchen, and bathroom of the caravan that he shared with his maid/lover and her daughter. His patients’ eyes all come from the same gene pool; therefore, they see the world and themselves in a common way. Dog shows – big in Germany at the time – now take off in Argentina, as a way for people to differentiate themselves from one another. Most people try to develop their only remaining physical differences. People try to grow the world’s longest fingernails or nose hair, the world’s strongest beard or stretchiest ear. Ironically in Mengele’s eugenic paradise people walk the streets proudly displaying their intentional deformities cultivated to achieve a sense of individuality and self esteem. People look for skills that would set them apart from the Mengeleian Argentineans, like growing the world’s largest vegetables, taking the world’s longest bath, building the world’s smallest ladder, or the world’s longest backwards walk. The Guinness Book of World Records becomes the most important institution in Argentina. Scoreboards are more common than traffic lights, and unofficial world record attempts (like the longest tooth brushing) are on every street corner – until the Guinness police (wearing uniforms and armbands) move them on.

Because everyone sees things the same way, it is impossible to lie, so there is no art, no movies, and no books. Thus, the Guinness Book of World Records is able to store their records in abandoned art galleries, theaters, libraries, courtrooms, and hospitals. The lack of diversity means that there are no longer schoolyard bullies to take children’s lunch money, chase them, and fight them, so children become fat and lazy. Men can only apply for the one job, so most are unemployed, sitting on park benches, and feeding pigeons – which become fat and aggressive.

The misery of his lover’s daughter is inescapable even in her own home; scientific equipment share power points with the household items. Her discarded netball gear lies on the floor while her school friends are selecting their teams through the window. Her step-father’s world of judgement and evaluation exists inside and out.

When people share the same personality type, individual idiosyncrasies are elevated to the status of pop culture and are celebrated with mass rallies, like spoon collecting, bucket types, and playing with the Rubik cube. On this day a crowd has gathered for a bucket signing by the world famous bucket maker, Gabriel Battistuta.

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Kick after the siren, Tapalinga Hawks vs Milikapiti Magpies

Cameron Hayes. Kick after the siren, Tapalinga Hawks vs Milikapiti Magpies – 3rd December 2002, 2004, 101 x 152.5 cms

If you see rubbish on the ground, why pick it up when you can set it on fire? If there’s a chair in the way of the TV, why move it when you can burn it to the ground? Just about every problem in Milikapiti can be solved by covering it in petrol and reducing it to ashes.

During burning season, you are woken up on Sunday mornings by kids in nappies walking around your backyard with a 1.25 litre plastic coke bottle full of petrol and a box of matches hoping to find some tiny shrub or blade of grass that hasn’t already been burnt to a crisp. Every house in Milikpiti has an iron drum constantly billowing smoke out the front, and the community dogs have to get up on hind legs and look into the fire for the less burning things to eat. Most Milikapiti dogs have burnt noses and tongues.

“History is subjective, people can pick out events and stories that they think are important.” And that is what Hayes is referring to by making up past dates to accompany the images in this body of work. This painting (above) was painted in Milikapiti. The artist’s local neighbours would visit him at work, an easel set up under the house. This painting was quite popular. Someone suggested it should be on display in the community club; another neighbour found it funny , stating it reminded her of how it used to be when she was a child. The community now has strict regulations regarding alcohol consumption, no alcohol was permitted at football matches while the artist was there. Hayes says of this work: “The main part of the story is how white Australian culture tries to order Tiwi life. In the background rubbish is burnt (Tiwi) rather than collected – rubbish pile burn offs, and this helps to explain why they are all over the field. One as an aesthetic device and two to reinforce the theme of the picture. Two ways of handling a problem in concert. Football is another analogy for white culture trying to order Tiwi life according to their rules, in this case footy rules. Here the whole team is standing on the mark, opposing team members are hugging. The rules work to a degree, but are adapted by the local culture, not fully accepted.
The beer cans I’ve used as an aesthetic device too. They are quite easily understood as they were everywhere, and on the footy field, the sun fades them and they become aqua in colour, they actually look quite beautiful. And when I was there it wasn’t a judgement that there were beer cans or that it was an embarrassment.”
This work was also included in the local art competition The Footy Art exhibition in 2005, where Kevin Sheedy (Essendon FC Coach at the time) awarded it First Prize. – M. Soni, June 2012.

It took the nuns a couple of months to realise that more girls would attend PE class….

Cameron Hayes, It took the nuns a couple of months to realise that more girls would attend PE class if it involved less netballs and more shotguns – 4th May 1975, 2006, oil on linen, 91.5 x 137 cm.

It took the nuns a couple of months to realise that more girls would attend PE class if it involved less netballs and more shotguns.

When a really old Tiwi woman took all her clothes off and danced naked on the stage at the club, another really old Tiwi woman yelled at her, “Put your clothes on Joan, Your possum’s dead”.

Dr Clyde Fenton delivers yet another baby – March 7 1932

Dr Clyde Fenton delivers yet another baby – March 7 1932, 2006, oil on linen, 44.5 x 53.5 cm.

This is Dr Clyde Fenton. In the early 1930s he brought his own broken down old plane and made himself the first flying doctor in the NT. He attended Xavier College, and although he did graduate as a medical doctor in 1925 from Melbourne University, he was a self-taught pilot. A disaster to the Civil Aviation Department, but a hero to the Tiwi people, as he was their only hope for medical assistance at the time.

Despite having a free medical clinic, most Tiwis won’t get help until the absolute last minute. In Milikapiti there are 2 nurses and a doctor flies in on Mondays. Just about everyone walks around with something bandaged.

This is Doctor Clyde Fenton. In the early 1930s he brought his own broken down old plane and made himself the first flying doctor in the NT. According to his autobiography, Clyde Fenton’s sister died in China in 1936 while being visited by their mother. On the day he heard, Fenton flew from Katherine to Darwin, welded an extra fuel tank to his plane, put another fuel tank in the passenger seat, and flew from Darwin to China across the Timor Sea during cyclone season, while Japan were fighting with China, without any landing permits or visas, and without telling anyone or bringing any one, and anyone who complained was some kind of “blasted dim-witted bureaucrat”.

Cameron Hayes exhibition opens in Melbourne today

Cameron Hayes’ extensive body of work created over the past 8 years – The Incomplete History of Milikapiti – will be on show at Dark Horse Experiment gallery in Melbourne from tonight until the 2nd September.

Come and visit the show. If you have any thoughts or questions, contact Cameron. He might even be in the gallery some days.

Have a read of this article about the body of work before you go. It’s pretty interesting. And, if you can’t get to Melbourne to see the show check out this blog and the Dark Horse Experiment website for the full catalogue.

Soft sculpture installation from The Incomplete History of Milikapiti. There are more weird, fun and wonderful sculptures in the show.

The Incomplete History of Milikapiti

When all the Whites came to Milikapiti, they gave all the Tiwis sugar, flour, beer and the dole. The Tiwi hunters – famed for their ferocity and courage – were no longer needed to hunt and kill food for the community. The Tiwi hunters had no purpose, so they lost their self-esteem and just sat around the club drinking beer.

Because the Tiwis ate only flour and sugar their teeth started to fall out. The government provided only one size of too big false teeth for everyone.

When the Whites gave all the Tiwis ladders, everyone could get their own mangoes, so the best tree climbers in the community lost their jobs and their importance, and drank beer. Because the Kookaburras got ladders, they no longer felt they needed to fly, so their wings shrank and they put on weight.

Which was fine until they met the King Brown snake, who remembered how things used to be and killed the kookaburras, whose now tiny wings could not fly their fat bodies away from King Brown’s bite.

King Brown’s poo covered the ground all over the Tiwi Islands and was a constant embarrassment to the people and the animals.

Is there anything more humiliating than seeing your father humiliated? When the government gave everyone the dole, the proud Tiwi warriors got the same amount of money as the obnoxious baseball-cap-backwards-wearing teenagers, who got the same amount as the old Tiwi women, who got the same amount as the guy who just sleeps in the broken-down old car all day.

When the Whites gave all the Tiwis glasses, the owls with the best eyesight felt valueless. They started stealing everybody’s glasses in the community, and sometimes this created domestic violence.

In the South Pole the explorers were so afraid of not having enough food…

In the South Pole the explorers were so afraid of not having enough food for winter that they starved to death in summer, 2001-2, oil and glitter on linen, polyptych 74 x 100 inches overall.

Polar explorers, including the famous competitors, Scott and Amundsden, would camp on the coast, and then set out on dog-powered sleds to the South Pole in spring. Many of the explorers were so terrified of being stranded inland during the Antarctic winter that they would not eat their supplies during the summer and consequently starved to death with a sled full of food. Other explorers were so aware that they depended on their dogs’ health to guarantee their return that they gave their own share of food to their dogs. Many starved and skeletal explorers were pulled by overfed, fat dogs. The South Pole from 1910 to 1920 was covered with dog shit and dead explorers.

For these polar explorers, at first summer was their favorite season, but they could not enjoy it because they knew it was all down hill from there; so spring became their favorite because it was leading up to summer. But summer had become their least favorite season so winter became their favorite because all the good seasons were to come. Although it was cold and miserable, at least they could look forward to improvement. These explorers felt it was better to always be suffering with the hope of things getting better than comfortable with the fear of things getting worse .This story is about people who use unhappiness as insurance against disappointment.

The panel on the left is of the explorer, Scott, as a young man already displaying signs of his compulsive behaviour by showing his envious sisters his uneaten Easter egg in July, though now it has turned powdery, white, flyblown and thoroughly inedible. A snowflake which has drifted across from the snowy central panel to summer, magnifies this detail. and tearfully covering his new schoolbooks on Christmas day.

The middle panel shows the South Pole, a mountain of frozen dog shit, surrounded by flags that didn’t quite make it. Young women endlessly exercise on their sleigh pulled by old fat ladies, the misery from fear of aging making the adjustment to old age more bearable and even a relief. Explorers are driven on sleighs pulled by their fears of the future. Cows, whose udders are bursting with milk, drag the coffins of their children to the pole.The final destination – the pole itself – is a flyblown mountain of dog shit, a result of misspent resources and excess energies of polar expedition.

The right hand panel shows the explorers’ funeral and finally the meeting of an older Scott and Amundsden in the frozen section of the supermarket in heaven. In the background are plump sleigh dogs that Scott would not eat to save himself. As in the race to the pole, Amundsen has arrived first. He has all the memories of his journey captured in the shiny mirrors of blocks of melting ice.

In the top panel, the cast of the story takes a bow to the applause of the seals and bouquets of frozen fish.

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Detail 3. Hayes often uses photos to assist in capturing expressions and gestures. The young Scott here is based on a photo of the artist himself as a young child. The ballerinas are friends, and his sister, from different photographs of them as youngsters at ballet performances.

Today hardly anyone could forget yesterday

Today hardly anyone could forget yesterday by Cameron Hayes. 1996, oil on linen, 66 x 83 cms.

Memories take a more solid form for Australians in 1788. In fact today hardly anyone could forget yesterday. Newly landed settlers can not be bothered to spend the energy in having to re-establish their social identity in Australia. They go about merely trying to convince people of their past proven trustworthiness and charm rather than actually demonstrating it.

Dean Wallis manages his own board of testimonials clearly written for all to see, but only from the vantage point of the ocean – Europe (yesterday). Countess Beckendorff of Berlin writes “Mr Wallis proved to be most enjoyable company at parties which I attended”. W Dawson-Smith of Forthampton House writes “Mr Wallis was regarded as one of the most desirable and fashionable men of our social group”.

In England in 1788 there were no police. Everybody wanted police but the French had already thought of it and the British Parliament could not bear to be seen to be copying the French. As a result British citizens had to catch those that had stolen from them, collect the evidence against them and then try them in court. A baker who had a dollar’s worth of bread stolen from him could spend up to a week getting justice. More energy was expended in pursuing the past rather than living in the present.

In Australia the transported British legal system perpetuates a need for punishment for personal pain where victims tirelessly pursue their offender. Malnourished settlers chase a mobile court of law encircled with hanging convicts in order to throw their vegetables at them. People busily hang their perceived wrongdoers up everywhere. In Australia in 1788 wood meant for the foundations of buildings were being used to make gallows.

Cameron Hayes: “This is about a world of people who could not deal with things present without using the past to contextualize them.

When the Whites first came to Australia, they couldn’t be bothered having to re-establish their position, character, or personality all over again as they had done in England.

So most of them spent their energy convincing people that they were really charming back home rather than having to start being charming all over again here.

Most new Australians carried testimonials from people back in England, saying that they were really funny and charming, that they were the life of many parties back home, and should automatically be regarded as desirable company by anyone who meets them in Australia.”

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The Approach to Cameron Hayes – 14 Kurdish refugees…

here is an article my friend wrote about my Milikapiti works. the show is on at Dark Horse Experiment at 110 franklin st in Melbourne from 1st august until september 2.

this is the article here – ARTICLE

this is a painting from the show.

14 Kurdish refugees land in Milikapiti and ask, “is this Australia?” – 4th November 2003, 2012, oil on linen, 61 x 81 cm

on the 4th. of november 2003 14 kurdish refugees landed on the beach at milikapiti. one of the kurds yelled out from the boat ‘IS THIS AUSTRALIA ‘. the tiwis on the shore were not sure because the australian government was disowning the bits of itself that could be used to help people like the refugees.

this is an article from SMH about this story

Quote from marielle’s article about this work:

“The latter work referencing the sinister use of marketing in politics and the media. Based on a true story, a group of refugees were spotted on a vessel in the bay at Milikapiti. The conservative Howard Government of the time did a fantastic job of instilling a fear and hatred campaign of refugees through the media, basically branding them as potential terrorists and possible carriers of unknown diseases. It worked. So pervasive was this strategic political message that it even reached across the nation from capital cities to remote small communities. So here we have asylum seekers in the guise of The Raft of the Medusa, instead of ragged cloth they are waving brand name t-shirts representing our new dominant culture – the well marketed Brand. Would they have more success by appealing, not to empathetic fellow people, not to other displaced victims, but to those who like the same brands – who do you identify with? Are you Nike or more of a Burberry? Are you Apple or PC? Are you Right or Left?”