• Fluke

    48 x 48  |  2015

  • Busk

    48 x 48  |  2015

  • Rake

    24 x 19  |  2016

  • Underdog

    24 x 19  |  2016

  • Six of One

    30 x 24  |  2016

  • Something Else

    24 x 19  |  2016

  • Log Jam

    72 x 96  |  2015

  • Work Force

    72 x 60  |  2014

  • Tote

    24 x 18  |  2014

JODI HAYS The Red Arrow Gallery Website CV

Nashville, TN | Painting
Bio:

Jodi Hays is the recipient of grants from Sustainable Arts Foundation, Tennessee Arts Commission, and the Elizabeth Firestone Graham Foundation. Her works are included in collections of the J. Crew Company (NY), Nashville International Airport, National Parks of America, Gordon College (MA), and the Tennessee State Museum. Residencies include The Cooper Union School of Art and Vermont Studio Center.

She received her M.F.A from Vermont College, her B.F.A. from The University of Tennessee, and studied Foundations at School of Visual Arts (SVA). She lived and worked in Boston for a number of years where she was Assistant Director at the Cambridge Art Association. She moved to East Nashville in late 2005, teaching and curating, working with artists like William Pope.L and Shaun Leonardo. She maintains a studio and pop-up gallery (Dadu). She was a founding member of Coop Gallery and continues to teach, from 8 years olds in her neighborhood to graduate students. She shows her work with The Red Arrow Gallery (Nashville) and Show and Tell Art and Design (Charleston, SC).

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Statement:

Painting is an investment in constraint, in a similar way that architecture bends and works within our complex landscapes and cultural matrix. My work is an eclectic “abstraction” drawn from soundbites, pattern and the built environment/grid. This composite of influences on the work becomes an account of events and spaces, the painting serving as a surrogate souvenir.

For years my work has been a negotiation of restraint and abandon. Through my work I address the nature of representation through process (surface, space, color, gesture) and image (grid related to landscape, screens, flags), usually parallel to titles. The paintings become ways I demarcate physical and psychological borders, though yielding to the painting’s own internal logic. They are mis-steps, try-outs, attempts, and repairs. The repairs end of being much more satisfying than perfection--the aesthetics of the broke-down.

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