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Ron Haselden
It may be useful to think of Haseldens installation under two aspects: the work with an emphasis on physicality - which for the most part means the scaffolding pieces - and the work which is more obviously about the ephemeral (light, sound etc.).

However, even the most physical pieces are also concerned with time, change, and have usually been linked with water or other inconstant, fluid elements.

Haselden has made a number of pieces using scaffolding. Belvedere (Bellever Forest, Dartmoor, 1987) was a 70 foot high spiral scaffolding structure. Inspiration for this piece came partly from Albrecht Durers painting of the Tower of Babel, with which Haselden had an enduring fascination.

'From the top of Belvedere you could see over the trees, and people far away could see you. Other scaffolding pieces include Seaham Harbour, Tower of Babel and Thames Project.'

Fête (1989-90). One of Haseldens most celebrated pieces: a fairground-style installation of flashing lights strung tent-fashion on poles, along with sound, as of hurdy-gurdys, and somewhat broken: 'the rhythm of the fairground carousel, the honky tonk of the accordion' (Hilary Gresty). This large outdoor piece toured in Europe.

Fête embraced the notion of outdoor spectacle, and demonstrated an understanding of an artworks intimate connectness to a physical context, to place. In this sense it could be linked to the way in which Haselden has worked extensively with architects and architecture, and to a piece such as Trilogy Part 1 (part of Breathing in, Breathing out), in Trellick Tower in Notting Hill, made with architect Robert Barnes. Haselden has spoken about Islamic art in relation to his architectural installations (in Art and Architecture magazine, No. 53, 1999, article by Hugh Stoddart) this is helpful in resolving the question of whether his work is or is not 'decorative': Islamic art has traditionally been intimately integrated with architecture, and has a notion of decoration quite different, and more serious, than the usual European one. Jonathan Harvey has written of 'Haseldens ability to maximise the the potential of a site.' (Thames Project catalogue, 1981). With Trilogy Part 1 Haselden has suggested that he was working with people as a material. Residents were given lights which were plugged in in their flats and when cued each lit their light, creating a light performance which could be seen from outside the tower block.

FĂȘte, Feeringbury Manor, Colchester, by Ron Haselden, 1989
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