Peter Haden - Almost Forgotten

10 wholly abstract way – symbolic but, at the same time, aesthetically arresting. The other vertical pieces are more tenuous and delicate, giving an insect appearance to the just-whispered suggestion of African figures and features. A selection of work (in the study) shows the artist modelling with more vigour, and with an eye to his ability to mould chunky, broadly abstract shapes into compositions of greater intricacy, that are visually more instantly pleasing. Here realism is often emphasized, but in a very simplified way, to give some of the pieces a sting of tribal life. The Verdigris green of ‘eroded’ metal against copper, heightens both the decorative impact and the feeling of age. The exhibition illustrates far greater freedom in Haden’s work. The artist evolves his pieces with intuitive sensitivity, so that some of the most simplified shapes have a willowy grace and rhythm rather amazing in such simplification. At present the different approaches show the growing desire to expand his talent to encompass a far greater variety of subjects and styles. (’African Life in Haden’, The Star, 23 October 1969). The other Johannesburg daily newspaper also featured an article on Haden’s latest exhibition: Peter Haden’s willowy bronzes are, I suppose, a logical development from those attractive little ‘paper weight’ figures with which he first attracted attention. These latest sensitive, almost Nordic inspired pieces are vigorous and sensitive to a degree. A departure from the usually elongated vertical shapes is ‘The Golden Calf’ which I found especially attractive and interesting. (H. E. Winder (HEW), ‘Select Selection’, Rand Daily Mail, 29 October 1969). Artlook 26 January 1969