Ha De Da

Wilma Cruise and Louis Olivier

French philosopher Luce Irigaray saw birds as divine and mysterious assistants who “intervene with mediations other than those we use as means of communication considered appropriate for human beings” (Irigaray 2004:199). It’s this precognitive empathy with other animals that is subsumed in the apparent playfulness of the works on the Ha-De-Da exhibition.

Taking as a starting point a collage by Olivier of a big beaked bird, Ha-De-Da was born out of the subsequent play with this iconic image. Hadedas have a certain insouciance – a casual lack of concern for humans, dogs or cats. It is a bird sufficient unto its self.

In this exhibition the Hadeda appears on plates, sculptures, drawings and masks, acting as a stand-in for all animals. A triptych of small bronzes figures Ha, De and Da, depict an amalgamation of human and bird. “Ha” comes as a punch, “De” absorbs the blow and “Da” is a fight back!