Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Plastic Sounds of Dark Matter, Installation view, 2019. Goldsmiths CCA. Photo © Mark Blower.
Corey Hayman, I Wanna Talk Like You...Too, 2019. Perforated steel security screen, inkjet print, electrical tape, ratchet strap. Goldsmiths CCA. Photo © Andy Stagg.
Corey Hayman, For Display Purpose Only, 2019. Plywood, perspex, acoustic foam, speaker driver, XLR sockets, vinyl, ratchet strap. Goldsmiths CCA. Photo © Andy Stagg.
Corey Hayman, Reggie, 2019. Plywood, perspex, acoustic foam, speaker driver, XLR sockets, vinyl, ratchet strap Goldsmiths CCA. Photo © Andy Stagg.
Corey Hayman, Reggie, 2019. Plywood, perspex, acoustic foam, speaker driver, XLR sockets, vinyl, ratchet strap Goldsmiths CCA. Photo © Andy Stagg.
EPISODE 3: COREY HAYMAN
Plastic Sounds of Dark Matter
“…possessing a black body through which history and fiction coexist…’ *
Corey Hayman works across sculpture and moving-image to create connections between materials that explore afro-pessimism, the ‘hauntology of blackness’, notions of progress and capitalism.
For Goldsmiths CCA she created a new work that explored infrastructures of sound. Her installation positioned sound machines (speakers, sound systems, hi-fi’s) as places which not only transmit, but themselves inhabit, sound. The space inside such structures is thus regarded as explorable and investigated for its imagined formal qualities and cultural mash ups. This line of enquiry sits alongside her ongoing use of the animated children’s TV character Rastamouse, who Hayman reads as a commodity who speaks, and a black body caught in a matrix of cultural representation, consumption and entertainment. His voice within this imagined space of the sound machine, and as sound wave, is smashed against waveforms of other kinds (that of water and the peak and troughs of the black progress narrative) to forge links between disparate histories. Histories which have worked to form and frame blackness. Hayman thus breaks down the structures that have permitted Rastamouse his existence, and so transpires across musical, poetic and visual references.
BIOGRAPHY
Corey Hayman (b. 1990 Coventry) is a multidisciplinary artist based in London. She holds an MFA in Fine Art from Goldsmiths University (g. 2018).
Episodes is an ongoing series of solo presentations that cuts through the main programming at Goldsmiths CCA and provides a counterpoint to the larger-scale exhibitions. Spanning installations, screenings, discursive events and new commissions, the focus of this programme is to provide an experimental platform for emergent practices. The series kicked-off with Oisín Byrne’s GLUE (14 Dec 2018–3 Feb 2019), and continued in 2019 with presentations by Adam Christensen (27 April – 27 May 2019), Corey Hayman (17 July – 11 Aug 2019) and Roland Carline (16 Nov 2019 – 12 Jan 2020). Episodes is supported by the Oak Foundation.
* Kara Walker in Christina Sharpe, Monstrous Intimacies: Making Post-Slavery Subjects, 2010, Duke University Press.
“…possessing a black body through which history and fiction coexist…’ *
Corey Hayman works across sculpture and moving-image to create connections between materials that explore afro-pessimism, the ‘hauntology of blackness’, notions of progress and capitalism.
For Goldsmiths CCA she created a new work that explored infrastructures of sound. Her installation positioned sound machines (speakers, sound systems, hi-fi’s) as places which not only transmit, but themselves inhabit, sound. The space inside such structures is thus regarded as explorable and investigated for its imagined formal qualities and cultural mash ups. This line of enquiry sits alongside her ongoing use of the animated children’s TV character Rastamouse, who Hayman reads as a commodity who speaks, and a black body caught in a matrix of cultural representation, consumption and entertainment. His voice within this imagined space of the sound machine, and as sound wave, is smashed against waveforms of other kinds (that of water and the peak and troughs of the black progress narrative) to forge links between disparate histories. Histories which have worked to form and frame blackness. Hayman thus breaks down the structures that have permitted Rastamouse his existence, and so transpires across musical, poetic and visual references.
BIOGRAPHY
Corey Hayman (b. 1990 Coventry) is a multidisciplinary artist based in London. She holds an MFA in Fine Art from Goldsmiths University (g. 2018).
Episodes is an ongoing series of solo presentations that cuts through the main programming at Goldsmiths CCA and provides a counterpoint to the larger-scale exhibitions. Spanning installations, screenings, discursive events and new commissions, the focus of this programme is to provide an experimental platform for emergent practices. The series kicked-off with Oisín Byrne’s GLUE (14 Dec 2018–3 Feb 2019), and continued in 2019 with presentations by Adam Christensen (27 April – 27 May 2019), Corey Hayman (17 July – 11 Aug 2019) and Roland Carline (16 Nov 2019 – 12 Jan 2020). Episodes is supported by the Oak Foundation.
* Kara Walker in Christina Sharpe, Monstrous Intimacies: Making Post-Slavery Subjects, 2010, Duke University Press.
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