Hayley Warnham travels through the times silently ridiculing the ridiculous and arriving at realism upon social realization. She portrays life simplified down to its simplest terms, erasing the excess while speaking universal notions unspoken. From then to now, she satirizes the two-dimensionality of the timeless facade.
Following Warnham, we too fall desperately into the bottomless time warp, in which (as the series is entitled) “Everything is Beautiful,” or so it seems. Alas, a utopian society is uncovered; It’s Pleasantville meets John Baldessari, a youthful simplicity within an empty conscience, wherein the weary mother suppressed by her self-explanatory title is ever present. Warnham stacks color atop the colorless. We stand mere observers of the scene; Everything, Beautiful as it may have looked through Warnham’s retro-polished lens, is passive to the shift of her subject matter. Taken on a whirlwind yet again through the life and times, we experience the pattern of timeless triviality through a timelessly trivial society.
Hayley Warnham plays comedian, blunt and witty in performance. Her “Head Rush” series, sort of a Mad Men sans sex and swagger deems her ready and willing to point the finger at “that guy.” You know the one, wide stanced and routine minded, hilariously egotistical without plausible reason. But that’s only one topic of Warnham’s mockery, others including the circulating “Load of Tweet” we encounter on a daily basis both literally and figuratively.
On a more serious note, we arrive upon a fashion-forward assortment of Warnham’s work, colorlessly modernized and finished with a colorful stroke of a paintbrush. The journey is concluded, yet we see that the trivial pattern is as timeless as the facade.
