Myth in Metaphor: The Etchings of Steven Hazard at Clement Art Gallery

I don’t know Steven Hazard personally, but his show atClement Art Gallery in Troy says a lot about what sort of person he must be.Like many artists, he is obsessed – but unlike most people, artists included,he appears to be singularly devoted to his obsession, giving his entireexistence over to creating a very particular world in carefully rendered andheavily layered imagery.

At his home studio in Albany, Hazard makes etchings, which heframes himself and takes on the road to sell at craft fairs and such; thesetravels have allowed Hazard to make a living, but have largely prevented himfrom pursuing traditional gallery shows. Myth in Metaphor is the first local showI can recall that features more than just a few of his works.

So this is a welcome opportunity to take in the scope of Hazard’soutput – especially because, despite the small scale of the gallery, it’s acomprehensive collection that spans from the 1970s to the present. Then again,for me the show is perhaps too complete – Hazard’s images are so dense that itis a challenge to take in very many of them at once, and the result is that theexperience is somewhat overwhelming.

The show includes a great deal of text, most of it written byHazard to explain the complexities of his ideas and images, some of it taken fromother sources. One such quote says his prints “often represent the sensoryoverload ... of the modern world,” which mirrors my own reaction; I would addthat they also draw from the ancient and medieval worlds to further populatethis Bosch-like, crammed universe that Hazard so relentlessly depicts.

Apart from the many etchings on view (both framed on thewalls and stacked unframed in bins), the show features several pencil drawings,which provide a bit of respite from the dark, layered prints. One of the drawings,titled Four Elements and dated 1999, provides the template for a same-sizeprint also on view. At about 20x34 inches, it is large for Hazard and, being ingraphite rather than ink, it is both lighter in tone and more richly detailed.One could spend hours just exploring this single piece in all its intricacy.

Another drawing, Article of Faith, is dated 2011 and featuressofter marks in a couple of colors on textured, grey paper. While its contentis similar to the other work on view, it has a lighter touch, and its use of arabbit as the main subject makes it more approachable than many of the moreforbidding subjects presented here.

Those consist of the human figure, animals, mythologicalcharacters, machinery, architecture and landscape – sometimes all in onepicture – and all of it elaborately staged to tell a story in actions andsymbols.  The many black or brown single-plateetchings shown here are augmented by quite a few colorful multiple-plate etchings,as well as some lovely hand-colored etchings.

Hazard displays great skill with drawing, spatialperspective, and visual invention, and his well of creative ideas seems bottomless– but I find the technical quality of his prints to be wildly inconsistent:some are crisp and clear, others very muddy, and many are too heavily inked,which causes a lot of blocking up in the finer details. In work such as this,where it’s not just about the lights and darks, or the shapes and lines, butwhere every bit of information carries intent and meaning, that matters.

Note: Myth in Metaphor: The Etchings of Steven Hazard closes onWeds., Oct. 26, so you must hurry if you’re planning to see it; also, thegallery will publish a catalog of Hazard’s work by December, adding to thelineup of quality publications it has brought out for its artists over the pastfew years.

Rating: Recommended