Aydin Hayri 2013
10 x 20, acrylic, enamel, wire mesh, found objects (CD ROMs) on canvas board
Espionage came about at the confluence of Edward Snowden incidence, my desire to work CD-ROMs before they hit the history’s trash bin, going the way of the floppy disks, and my ongoing obsession with Spiral Jetty as one of the most remarkable works of art.
A spiral is the perfect geometric form for espionage as you would normally need to get to your target, a piece of information, rather indirectly, going around and around, with potential for deception lurking behind every move. In this painting, one of the two focal points represents a decoy, and the other the real target. Which one is which, is a decision left to the viewer. Both contain a CD-ROM, albeit of different sizes, protected with wire mesh (which is a common element in my art work). However, my own thought is that the bigger one at the bottom is the decoy and the top one is the real thing. You also note the use of a series of wire mesh pieces on the red strip at the bottom. Again, the viewer must figure out whether red or the blue stream is the “right” path to be on. My view is that the blue is the path to follow, but alternative frameworks may be developed to put the emphasis on the red.
Light blue patch on top, as well as the blots of light blue paint holding the wire mesh in place symbolize escape, escape from the grind and anxiety of espionage.
Regardless of the name, other frameworks can be developed to impute meaning to this piece. In my view, abstract art must have two components: one is that it must present a framework to the viewer to assign meaning. That is why it is called abstract art – if it is a figurative depiction, it would give the viewer only a few avenues to explore for alternative meaning. The second component, which is essential for me, but not so for many other artists, is the aesthetic pleasure – even for a work like this one, I try to strike a balance of colors, some symmetry and a consistent feeling of movement or shape.