Hyatt's work is defined by her obsession with the elongated form, unorthodox division of space, and a geometric visual language. She celebrates a certain resurgence of Modernism and is influenced by the early radical Modernist women upon whose shoulders she stands on. As such most of her current work exhibits freedom from objective reality.
Entering my sixth decade has impacted my art further as I continue to use aging as the catalyst to challenge myself to evolve artistically and embrace imperfection. Setting aside familiar materials and processes, I've embarked on block printing as the physicality of carving the wood, fighting the grain, sharpening tools, and slathering ink layer upon layer is oddly freeing...less methodical. I fancy that the woodblocks reference the compositions of Louise Nevelson and Frank Lloyd Wright echo the mark-making of Max Beckmann and are inspired by the mid-century modern color palette of my childhood...all with the cylindrical format, ambiguity and irregular edges that are, well...simply Hyatt.
As referenced above, in much of my work, visual elements of elongated forms, figure-ground ambiguity and the irregular edge appear and reappear. I will spare the reader all related metaphors, references to Jung, elitist jargon, and private insight. It's a preferred aesthetic...just personal voice.
Within "All Things and None" the obstacle of aging is countered with the acceptance that death is not only inevitable but lovely, and explores the mysteries of the "beyond." The pastels juxtapose youthful faces with raven wings, bones, and heaven's "cloud gates" in an effort to view aging and death as natural...the final adventures.