Sam Haynes is a mid-career visual artist based in London, working primarily with sculpture and public art installations. She is interested in the physicality and materiality of forms, and the translation into a more accessible and friendly medium for a wide and diverse audience.
Her abstract, geometric assemblages often incorporate found objects and materials which aim to reference different domestic settings and architectural spaces. This is reflected in the physical and geographical adaptability of Haynes’s practice, in terms of exhibiting and installation.
Haynes has worked in arts facilitation for many years which continues to influence her artistic practice, engaging local, often marginalised communities with her public sculptural installations, which have included commissions for Amnesty International, Public Art Wales and the deaf-blind charity, Sense. As well as leading Arts Council funded projects she has exhibited interactive sculpture at the Hannah Peschar Sculpture Garden, and collaborative, site-specific artwork at the Southbank’s Royal Festival Hall.
Self-taught or art school?
I come from an interdisciplinary arts background initially, combining performance art and sculpture which led on to an ‘Art in Architecture’ MA. Art school wouldn’t have been the right environment for me – I never saw myself as a fine artist.
If you could own one work of art what would it be?
It would have to be a Skyspace by James Turrell – not so easy to install in a rented two-bedroom flat so would have to be purpose-built. Can’t think of a more wonderful way to escape the urban chaos (even though I love it really) and contemplate life in the ever-changing light.
How would you describe your style?
Abstract, geometric, systematic, organic, playful. Can you tell us about your artistic process?
I use found objects and materials to create mixed media assemblages, combining hard-edged materials with more flexible forms to create a sense of balance and tension. I am led primarily by an intuitive and playful response to these contrasting materials, building dynamic connections with the surrounding space, animated through the use of colour, light and shadow.
Is narrative important within your work?
The process is led completely by the chosen objects and materials rather than any preconceived idea. When I have photographed the assemblages and am considering a title I rationalise what I have created in relation to its context, making connections to previous work as well as broader influences. However, my interpretation may differ greatly from someone else’s so I try to avoid any fixed narrative.
Who are your favourite artists and why?
I love Philida Barlow’s work – her large playful forms and use of colour are pure joy and I very much relate to her reuse of materials. I discovered Carol Bove’s sculpture more recently, again wonderfully colourful and playful, with a crumpled steel geometry that seems to defy the rigidity of the material with such an elegant sense of poise.
I also very much admire Jeremy Deller’s public practice for connecting so effectively with people outside the gallery, socially aware and just downright clever.
What or who inspires your art?
I’m inspired by the materials and objects, first and foremost. I used to create site-specific public art installations so would always work to a brief. The materials now provide the parameters of the challenge in hand.
My arts facilitation practice also influences my work greatly, reaching out and making connections to a wide and diverse community through a playful and engaging creative process. Accessibility lies at the core of my practice.
Where’s your studio and what’s it like?
It’s at home, spreading out and filling my flat more and more, as every week passes. I collect materials that I have found or accumulated from previous education or public art projects, grouping them in type, to bring some sense of order to the apparent chaos.
Do you have any studio rituals?
Just rituals of living. There isn’t a divide in my home between the studio and living area – I think that reflects how I like to work. Best not to compartmentalise our lives, especially when you love what you do.
