Richard Haden was born in Frankfort, Kentucky, in 1958. He attended the University of Kentucky at Lexington, from 1977-1980. Haden has had solo shows at the Anhalt Gallery in Los Angeles and later at Dorscht Gallery in Miami, Allan Stone Gallery in New York, and the University of Maine Museum of Art, in Bangor. Haden has been in group exhibitions at F.I.A.C., Paris, the Laguna Beach Museum of Art, the Frost Museum of Art in Miami, LAICA in Los Angeles, and the Boise Art Museum, among others. Haden’s works are in several noted public collections including the Di Rosa Preserve, in Napa, California, the Museum of Contemporary Art, Miami, and the Maine Museum of Art in Bangor. Haden splits his time between Miami and San Francisco.
The suspension of disbelief is at the center of Richard Haden’s artistic practice. Combining is expert talents in carving and trompe l’oeil, the artist transforms pieces of mahogany, maple, and poplar, into nearly indistinguishable facsimiles of mass-produced objects. The artist collects his objects of inspiration as detritus found on the streets or in abandoned lots, which he selects based on their imperfections. Objects like cans, car-parts, suitcases, paper-towel dispensers, cardboard boxes, buckets, and carpet sweepers, are shown as dented, rusted, oxidized, and misshapen relics, bearing the scars of heavy-use. Channeling the Duchampian readymade, Haden defiles mass-production with old world craftsmanship and precision. Reproduced are the castoffs in a world in perpetual decay, captured at unique, fleeting moments in their decline. Each object, elevated to greatness through meticulous reproduction in exotic wood, oil-paint, enamel and lacquer, the apex of un-manufactured and un-mechanical reproduction.