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An Artist With Sharp Edges

Hugh Hayden’s career is exploding. Take care not to be hit by shrapnel.

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This article is part of our Design special section about creating space with the look and feel for one person.


At Hugh Hayden’s Brooklyn workshop, useless versions of utilitarian things are gestating all around. No chefs could cook with his skillets, punctured by orifices and attached to musical instruments. No basketball players could score points with his nets made of synthetic hair, trailing down dozens of feet like Rapunzel’s tresses. He and his employees implant metal and wooden blades in tables and chairs, and drape barbed wire and prickly vines across baby cradles.

Mr. Hayden, who is Black, gives sardonic titles to his artworks, reflecting how systemic racism has blocked upward mobility for some. His forbiddingly spiky school desk is called “Work-Study.” A wooden ladder sprouting garden shears is “Higher Education.”

During a recent workshop tour, Mr. Hayden, 40, sported eyeglasses trimmed in fir twigs harvested from the Dolomite mountains in Italy. He leafed through piles of raw cotton and vintage books about wicker and rattan furniture, pondering new ways of weaving. Thorny smilax vines were strewed underfoot, and a sandaled reporter, dazzled by the varied work in progress, narrowly avoided goring her toes.

Mr. Hayden’s branched skeleton piece is described by the artist as “an evolving work in progress made of bald cypress wood.”Credit…Ahmed Gaber for The New York Times
The artist’s woven rattan and smilax vine basketball backboard titled “Happily Ever After” will go on display at SFMoMA.Credit…Ahmed Gaber for The New York Times

He brought out chocolaty chunks of bark, the stuff he has layered on Timberland boots and Burberry trench coats. “It’s fun when it has the lichens and moss on it,” he said. Despite the razor edges on his chairs, gallery goers still sometimes mistake them for something supportive: “People try to lean on them, out of an instinct.”

His staff was on deadline, sanding bits of Christmas trees for a dining set and braiding blond wig strands, alchemically transforming detritus into commentary on injustice. This fall, Mr. Hayden has one-person exhibitions at the Nasher Sculpture Center in Dallas (opening Sept. 14, with an oaken playground castle bristling with boar hairs) and the Rose Art Museum at Brandeis University in Waltham, Mass. (opening Sept. 18, with a cottage engulfed in branches).