Can you share a bit about your journey as an artist? How have your experiences and influences shaped the direction of your work over the years? Your art often explores themes of shared culture and history. 

I moved to New York in 1996 inspired to live and work in the same city as my Photographic heros Richard Avedon and Irving Penn. Soon after arriving, I realized that in order to survive and hopefully thrive I needed to establish myself as a commercial photographer. I got an agent and embarked on a successful career all be it, with its peaks, valleys. and challenges. I spent 10 years 'chasing the next job' and did not really embrace my artistic side until starting The Honest Portrait and DUSK projects in 2017. It was not until after the pandemic that I began to fully focus on my fine art photography, starting with my Flower Studies. My first love is portrait photography and The Honest Portrait project which is ongoing is a visual homage to Irving Penn. The first books I ever owned were books by him and Avedon and their portrait photography inspired me to pursue my photography career. In  New York I have had the good fortune of living and working in what is largely considered to be the center of the Photography world. The galleries, the museums, the talent pool, it's all here. All of that has inspired me to work hard, push myself and chase the dream, which I am still chasing.

What initially inspired you to use photography as a way to convey these themes? 

I think portraiture by its very nature is about sharing, and culture and history come part and parcel with that. I hope that by looking at my Honest Portraits you see a window into the sitter's history and culture. I started the project because I was becoming frustrated by the growing lack of honesty, sincerity and to an extent, vulnerability in current portraiture photography, particularly in the editorial world.

What led you to focus specifically on the "THE StATEHOOD QUARTERS" in your project, and how does this series reflect your thoughts on the current socio-political climate? 

For me, the political discourse in the country began with Bush/Cheney, and Trump has taken it to a level I never thought possible. The country, sadly, has become so polarized I started thinking about how I could contribute something positive to the conversation and environment, and The Statehood Quarters idea came to me. The words "E Pluribus Unum”  Latin for "Out of Many, One” are the one common element on each Quarter and I think we have lost sight of the fact that while we may have different opinions, beliefs, and agendas we are all Americans at the end of the day and must strive to be more respectful, understanding and tolerant of each other.

The worn appearance of the coins in your series emphasizes their journey through many hands. How do you interpret these markings—as signs of wear or as symbols of collective memory and experience?

The worn appearance of the coins in your series emphasizes their journey through many hands. How do you interpret these markings—as signs of wear or as symbols of collective memory and experience? The US by contrast to other countries is fairly young but is still almost 250 years old. The coins were issued by the US MInt in the order that they joined the Union starting with Delaware in 1787. I deliberately chose to photograph the coins, showing their wear and tear because the country and each state in the country have been through alot. Both positive and negative and I feel that the last 8 years have been particularly challenging. I have plans and projects in the works for The Statehood Quarters to hopefully bring some positivity into our lives.

Why did you choose to use archival Canson rag photographique paper for this series? How do you think this choice enhances the overall impact of the "Quarters of Confederation"? 

I tested a lot of different types of media for this project and the Canson Paper just felt right. It is a beautiful paper with a wonderfully sensitive surface. I have a good working relationship with the company.

Blaise Hayward’s photography invites us to see coins in a whole new light—rich with texture, history, and meaning. His ability to elevate these small, often overlooked objects into works of art reflects his unique vision and mastery behind the camera.

We hope this interview has offered insight into Blaise’s captivating process and inspired you to look at the world a little closer.