‘It’s Alive!’


Viewing folkloric images and artefacts from the pre- industrial times for Haviland is restorative and reconciling. A world with no logos, no corporate identity, no capitalism. Individuality in these times was defined by enigmatic peculiarities that can still be detected today in folkloric revivals of these ancient traditions.

‘The Fall From Eden’ a story from the bible, has been considered by Haviland as a metaphorical comparison to the industrialisation of Britain throughout the ages, taking the concept of creation right back to ‘the beginning’. The works illumine the dilemmas that cultural society has been faced with through technological advancement, that of man’s sacrifice of his creative personal handcraft for cheaper mass produced goods.

Melding relationships between tradition and contemporary culture is for Haviland an investigation into the psyche of community; cementing of the importance of the folk era for Haviland safeguards tradition and heritage against a void generated by synthetic means.

The colours black green and gold provide a format which is representative of life death and spirituality, simple choices for simple notions that mimic pedagogy; key for purposes in folkloric activity, sculptures and drawings develop using a medieval philosophy, that nature’s growth structure was formed geometrically.

Haviland’s work takes an endearing charismatic quirkiness from folkloric complexions and fuses it with fictional and non fictional narratives, revealing a phantasmagorical playfulness. The works are an attempt to assist the viewer in understanding his identity lost in the chaos of an overloaded technical age.

Haviland recognises this as a neurosis, but it is also a school of thought that is fast becoming a trend, an attitude, a concern. Underlying the works is resentment to technological advance that has been deemed responsible for the end of the handcrafted environment that is detrimental to and dilutive of our collective cultural identity.

Haviland also chooses themes within ‘folklore’ to re-establish a lost sense of connection to the natural pulses of the earth by way of identifying and empathising with a pre-industrialised era, an era inspired and formed with and from a bio-rhythmical environment. Haviland hopes that her work will enhance recognisable connections to the magnetisms of the earth, inspiring unions with authentic origins.

The humanist and spiritual issues are on-going and resolute within the works; a core sensibility is being addressed, one the artist recognises as strong elements of folkloric life, that of pride and labour for a better future; authenticities that can and should be identified with a ‘Britishness’, bringing closer together the arts and society.