James Hayward's focus on the monochrome easily positions his interpretation within the lineage of abstract painting, from Malevich and Mondrian to Reinhardt and Ryman. They exist as immediate visual experiences apart from any representational reference, where the reception of the work is reflected within the work itself. Hayward's paintings are phenomenological things-in-themselves, inhabiting the space between complexity and singularity as self-contained entities; the paintings record time, and are akin to non-literal diaries. Every subsequent marking, built up from the surface to the point where they form sculptural peaks and fissures, is pivotal to the structural physicality of the work. This process creates an irreproducible distinct identity that dually epitomises and affirms the physical act of painting. The end results are seductive studies of colour effortlessly intertwining with the materiality of paint.