On April 3, Brandeis University once again welcomed architect, artist and visionary Hugh Hayden to discuss his ongoing collection at The Rose Art Museum, “Hugh Hayden: Home Work.” Joined by Dr. Muna Güvenç (FA) and Dr. Gannit Ankori (FA), the co-curator of the exhibition, Hayden explored the inspiration behind his works and provided an inside look at how he “built Americana.” 

Before their conversation, Ankori introduced Hayden, taking extra care to highlight his roots as an architect. Born in Dallas, Texas, Hayden received his Bachelors of Architecture from Cornell University and his Masters in Fine Arts from Columbia University. Ankori noted that with Hayden, “the architect never left the artist,” and for anyone who has seen his exhibition at the Rose, it is clear how deeply his architectural background informs his artwork and presentation. His background permeates his art in fascinating ways, exploring themes of universality, structure and identity. 

For those unfamiliar with the exhibition, Hayden presented five distinct aspects of everyday environments throughout the rooms of the Rose: the home, the classroom, the kitchen, the playground and the walk-in closet. As Ankori explained, each space is filled with domestic, familiar items, each transformed by Hayden to embody the Freudian concept “unheimlich,” or the uncanny. In defamiliarizing these conventionally comfortable, mundane spaces, Hayden explores the fascinating tension between longing for safety and recognizing the danger that exists within our homes. 

The Home

Among the works in the gallery, one of the most poignant examples of the “uncanny” is Hayden’s sculpture “Oreo.” Made from Texas ebony, a wood Hayden feels connected to because of his Texan roots, the piece evokes a sense of nostalgia and unease, so much so that one member of the audience exclaimed “Jesus,” when the crib was projected on screen. While the exterior of the crib seems normal, the interior is lined with multiple little wooden spikes, making the usual resting spot of a child anything but safe. 

The Classroom

In the classroom portion of the exhibit, there were numerous evocative and disconcerting artworks that ask the viewer to reconsider conceptions of education, institutions and authority. For example, in one sculpture, “Finishing School,” Hayden covered a traditional reading desk with boar hair bristles, equating education to something that refines, but also potentially sanitizes and manicures the students’ mind. Another piece, “Higher Education,” features a roughly 12-foot ladder covered from top to bottom with pruners, with the top being the most densely covered. During the discussion, Hayden, Ankori and Güvenç shared various interpretations of the piece. On the one hand, pruners, like education, can help cultivate an individual. On the other hand, the higher you climb, the easier it is to get harmed. Yet, if you make it to the top, you have more tools at your disposal. These various theories highlight the complexities of education and its institutions, suggesting that it can be both empowering and dangerous, while questioning how — for better or worse — it cultivates individual minds. 

The Kitchen

In the kitchen, the most striking exhibit is “Soul Food,” in which numerous cast iron pots are hung from a large industrial ring suspended from the ceiling. Embossed in each pot are the faces of West African masks. As Hayden shared, the use of cast iron in this piece symbolizes its foundational role in the industrialization of America. The pots also allude to America’s identity as a “melting pot,” which was built on Black labor. Additionally, as Güvenç pointed out, the kitchen is a central part of any home, serving as a place where identity is crafted and expressed through food. 

The Playground

Stepping “outside” of the uncanny home, Hayden crafted a playground filled with playful whimsy yet, as always, subtly dangerous elements. This section of the gallery features towering basketball nets and balls, each serving as a testament to Hayden’s skill and craftsmanship as an artist. Compared to the other parts of the gallery, these works are more open to interpretation. When asked about the meaning behind the playground pieces, Hayden offered some explanations but emphasized that, as an architect, his work must be universal. While he is the creator of his art, he believes that different people will — and should — have different interpretations. 

The Walk-In Closet

Hayden, Ankori and Güvenç concluded their conversation in the closet, a section of the gallery transformed to emulate a literal closet. They constructed a wall and added two large wooden doors sourced from none other than Home Depot, which, as Güvenç pointed out, was the only truly familiar object in the entire exhibition. Inside this crafted closet, there were numerous fascinating artworks, from rib cages hanging on retail racks to Tiffany engagement rings filled with Descovy pills instead of diamonds. Among all the artistic statements in this section of the exhibit, one compelling theme emerges: Hayden’s thesis that fashion acts almost like an invisibility cloak. Explaining this in reference to a Burberry coat he covered in tree bark, Hayden invited the audience to consider fashion as a form of social camouflage; When we follow trends and dress accordingly, we will surely blend in. 

As the conversation drew to an end, it was clear that Hayden’s work, rich with allusions and nuanced meanings, challenges viewers to question both the visible and invisible aspects of American culture. He invites us to sit with the discomfort found in the home, the classroom, the kitchen, the playground and our closets. His art work deconstructs the everyday, ultimately forcing us to confront uncomfortable truths about identity, education, race and the contradictions embedded in American society. “Hugh Hayden: Home Work” will be on display at the Rose until June 1, 2025.