MELENCOLIA 1 (after Durer), 2018 | pencil on paper | 540 x 390 mm
Melencolia 1, after Durer is set, within a geometric mesh in several locations and time periods at once. Durer’s solid (the large cuboid shape on the right hand side) is mapped onto the centre of the Milky Way, which extends its band of light and shadows forming the banks of clouds on the horizon of an ocean. Durer’s sleeping dog is awoken here and stands as the Dog Star (Canis Major) on a beach, its shadow (the Dark River to Antares) stretching towards an impression of Durer’s main figure, the personification of melancholia or geometry. Washed up plastic pollution and sea creatures and the dead bird replace the scattering of tools and instruments in Durer’s master print. Diatoms, diamonds, Plankton, instruments and tools are dispersed from a comets tail and follow the trajectory of a rainbow towards an alchemists sinking crucible and a pyramid (energy) inside a cube (gold) symbolising transmutation. Alchemy here is used as a metaphor for our insatiable need for transformation.

MELENCOLIA 1 (after Durer) detail (the Dog Star and the Dark River to Antares)

MELENCOLIA 1 (after Durer) detail

MELENCOLIA 1 (after Durer) detail (the personification of melancholia or geometry)

A CLOUDBURST OF EVERYDAY OBJECTS, 2018 | pencil on paper | 630 x 500 mm
This is my second drawing based on Leonardo da Vinci’s ‘A Cloudburst of Material Possessions’, a curious sketch made c1510 depicting a downpour of the humble tools of daily life. In this homage, I use my geometric mesh technique to develop the overall tonality of the drawing – the stormy clouds, sky and sea become meshed together to reveal objects associated with our waste culture.


THE FADING NORTHERN WHITE AFTER DURER’S RHINOCEROS, 2018 | pencil on paper | 70 x 70 mm
This work is a reference to Durer’s famous woodcut of a rhinoceros, which he created in 1515. As he had never seen an actual rhinoceros he based his depiction on a written description and rough sketch by an unknown artist of an Indian rhino that had arrived in Lisbon in the same year. This was the first time a rhinoceros had been seen in Europe since the Roman times. This depiction, as well as referencing Durer’s rhinoceros, is an acknowledgement of Sudan, the last remaining male northern white, which died in 2018. Durer’s overly imagined armoured beast is replaced by an animal that is fading in and out of a geometric structure.

“Paul Hazelton, contributes a pair of beautiful drawings so small, you need to press your nose against them to decipher them. One shows Dürer’s famous rhinoceros in a ghostly distance. The other remembers Sudan in his final moments.”
Waldemar Januszczak, Art Review: The Sunday Times, Animals & Us at Turner Contemporary, Margate, 2018

JOSEPH COMFORTS SUDAN, 2018 | pencil on paper | 170 x 170 mm

This little drawing represents a very special relationship.

“Paul Hazelton’s drawings proffer a quiet sadness at the final gasp of an endangered species.” – “a tiny, complex sketch of the last surviving male white rhino, which died in March this year. This intricate drawing is crisscrossed with fine geometric patterns so that you have to lean in and squint to pick out the ailing animal and his attentive keeper.”
Review by Emily Spicer, Elephant.Art

A CLOUDBURST OF MATERIAL POSSESSIONS, 2017 | pencil on paper | 420 x 490 mm
This drawing is based on Leonardo Da Vinci’s sketch ‘A Cloudburst of Material Possessions’ Leonardo’s piece does not incorporate a visual geometry but presents a curious downpour of possessions, mostly of the humble tools of daily life. This homage, which materialises from a mesh-like cloud, is bursting with the complexity and interconnectivity of our daily lives.

CARBON CLOUD, 2013 | pencil on paper | 320 x 260 mm
Carbon Cloud is an investigation into the Interconnectivity that exists between us nature, and in this case a seemingly random cloud. Clouds, the reorganised shapes of disorganised matter, are the most abstract impressions of our ever-changing world in all its beauty, chaos and order. The drawing also references John Ruskin’s extraordinary cloud geometry, made in 1860, that first gave clouds perspectivism.

THE FLIBBERTIGIBBET, 2017 | drawing on paper
The word Flibbertigibbet may originate from ‘fly by the gibbet’; a gibbet being a medieval scaffolding cage where the bodies of executed criminals were left to rot. Seemingly gibberish, Flibbertigibbet also has the inferred meaning of someone flighty or gossipy. In Shakespeare’s King Lear, Edgar uses Flibbertigibbet to describe a foul demon or imp. Here, a fly and a human are merged, their anatomies grotesquely crystallised in a new kind of being.

GENETIC MAGNETIC FIELD, 2010 | ink on dust | 80 x 110 mm

Powered by 24x7wpsupport