Strong in the Broken Places, Curatorial Statement, Sara Estes
C U R A T O R I A L S T A T E M E N T
While the theme of place is palpable in Jodi Hays’ work, notions of the non-place and exile push to the forefront with equal force. The spaces Hays depicts are clearly not those of home and habitation, but rather that of temporality, upheaval, and exclusion. In a 1951 essay titled Moderation and Excess, Albert Camus wrote, “We all carry within us our places of exile, our crimes, our ravages.” In these works, Hays employs physical space as a metaphor for the psychological spaces we navigate. Instances of internal transmutations, or places of exile within, manifest among the quotidian imagery found among the transitioning landscape —construction fences, festoons, and caution tape.
Camus’ sentiment dove-tails into a dialogue previously initiated by Hays with Eudora Welty, who wrote about place as a thing that has influenced, nourished and instructed us, a thing from which “man can suffer if he’s exiled.” In a controlled confrontation, Hays rejects potential exile and, bravely explores these forbidding places, charting them with methodical precision. A kind of optimism is found among staccato points of color and divergent organic lines that puncture each tightly geometric work. These areas act as a respite from the cold spaces, the errs in precision and the spontaneity of linear direction whisper an implication of human presence.
While the theme of place is palpable in Jodi Hays’ work, notions of the non-place and exile push to the forefront with equal force. The spaces Hays depicts are clearly not those of home and habitation, but rather that of temporality, upheaval, and exclusion. In a 1951 essay titled Moderation and Excess, Albert Camus wrote, “We all carry within us our places of exile, our crimes, our ravages.” In these works, Hays employs physical space as a metaphor for the psychological spaces we navigate. Instances of internal transmutations, or places of exile within, manifest among the quotidian imagery found among the transitioning landscape —construction fences, festoons, and caution tape.
Camus’ sentiment dove-tails into a dialogue previously initiated by Hays with Eudora Welty, who wrote about place as a thing that has influenced, nourished and instructed us, a thing from which “man can suffer if he’s exiled.” In a controlled confrontation, Hays rejects potential exile and, bravely explores these forbidding places, charting them with methodical precision. A kind of optimism is found among staccato points of color and divergent organic lines that puncture each tightly geometric work. These areas act as a respite from the cold spaces, the errs in precision and the spontaneity of linear direction whisper an implication of human presence.
Momentary Upheaveal, Art Now Nashville review, M. Kelly
www.artnownashville.com
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Momentary Upheaval
By M Kelley on February 15, 2012
Jodi Hays’ recent paintings construct optimism out of transition
Aptly titled Strong In the Broken Places, the exhibition of recent paintings by Jodi Hays showcases works that are construction sites, and not just in content: as deconstructed and reconstructed images of temporary sites, the show, curated by threesquared features a process of exploration created this past year.
Larger oil paintings serve as vignettes of invented scenes, juxtaposed with smaller gouache and acrylic pieces whose monochromatic interpretations are truer to photographic life and yet meticulously poetic in their paring down of essential punctuations in color. In both, Hays is a master of vocal color choices balanced with muted urban hues, sensitive to the psychology of built spaces: implied line, barriers, obstructions, progressions.
Hays describes architecture as a universal influence that we all understand in on a basic environmental level, and in discussing her work, the intentions of building are clear in her process. “[My work] is as much about painting as it is [about image.]” Her oil paintings exist as labored, constructed spaces: applying and removing paint by taping off, sanding down, washing and staining, dry brushing, and scraping knives over artifacts of pencil line. The resulting abstraction flattens the work and yet renders the image as a powerful exploration into psychological space.
As curator Sara Estes remarks, Hays’ works cross between exile and finding, inserting a very human optimism into temporary upheaval.
Browse: Home / Visual Arts / Momentary Upheaval
Featured Articles
Momentary Upheaval
By M Kelley on February 15, 2012
Jodi Hays’ recent paintings construct optimism out of transition
Aptly titled Strong In the Broken Places, the exhibition of recent paintings by Jodi Hays showcases works that are construction sites, and not just in content: as deconstructed and reconstructed images of temporary sites, the show, curated by threesquared features a process of exploration created this past year.
Larger oil paintings serve as vignettes of invented scenes, juxtaposed with smaller gouache and acrylic pieces whose monochromatic interpretations are truer to photographic life and yet meticulously poetic in their paring down of essential punctuations in color. In both, Hays is a master of vocal color choices balanced with muted urban hues, sensitive to the psychology of built spaces: implied line, barriers, obstructions, progressions.
Hays describes architecture as a universal influence that we all understand in on a basic environmental level, and in discussing her work, the intentions of building are clear in her process. “[My work] is as much about painting as it is [about image.]” Her oil paintings exist as labored, constructed spaces: applying and removing paint by taping off, sanding down, washing and staining, dry brushing, and scraping knives over artifacts of pencil line. The resulting abstraction flattens the work and yet renders the image as a powerful exploration into psychological space.
As curator Sara Estes remarks, Hays’ works cross between exile and finding, inserting a very human optimism into temporary upheaval.
Nashville Scene previews solo show, by Laura Hutson
"To call Hays’ paintings landscapes probably isn’t be the best way to describe them, but it’s not inaccurate. She uses images of construction fences, festoons and caution tape minus the actual landscape, which remains only through implication — kind of like a temporary map of a place that’s in transition. In the same way that blueprints stand in for a building before it’s built, but are really no more than ink on paper, Hays’ works break down a place to its bare essentials. The new paintings in her show at Threesquared, curated by Sara Estes, are just as aesthetically pleasing as the traditional Japanese woodblocks you’ll see at Vanderbilt Fine Arts Gallery this season, but with a distinctively contemporary sentiment."
- Laura Hutson, "Winter Arts Preview", Nashville Scene
- Laura Hutson, "Winter Arts Preview", Nashville Scene
Jodi Hays- solo show, Strong in the Broken Places
Strong in the Broken Places
New works by Jodi Hays
Opening Party: Feb. 10th, 6 - 9 PM
threesquared presents an exhibition of new works by Nashville-based artist Jodi Hays. Strong in the Broken Places will feature recent oil paintings and works on paper.
In this exhibition, Hays uses physical space as metaphor for psychological space. Through a deft and deliberate balance of line and form, she leverages images one might associate with marking transitions or temporal site: construction fences, festoons, and caution tape. The work’s constant thread is an inquiry into how quotidian images can explore personal circumstance and transcend themselves. A process the artist terms “a kind of aesthetic redemption.”
"To call Hays’ paintings landscapes probably isn’t be the best way to describe them, but it’s not inaccurate. She uses images of construction fences, festoons and caution tape minus the actual landscape, which remains only through implication — kind of like a temporary map of a place that’s in transition. In the same way that blueprints stand in for a building before it’s built, but are really no more than ink on paper, Hays’ works break down a place to its bare essentials. The new paintings in her show at Threesquared, curated by Sara Estes, are just as aesthetically pleasing as the traditional Japanese woodblocks you’ll see at Vanderbilt Fine Arts Gallery this season, but with a distinctively contemporary sentiment."
- Laura Hutson, "Winter Arts Preview", Nashville Scene
Threesquared
427 Chestnut Street
Nashville, TN 37203
threesquaredgallery@gmail.com
New works by Jodi Hays
Opening Party: Feb. 10th, 6 - 9 PM
threesquared presents an exhibition of new works by Nashville-based artist Jodi Hays. Strong in the Broken Places will feature recent oil paintings and works on paper.
In this exhibition, Hays uses physical space as metaphor for psychological space. Through a deft and deliberate balance of line and form, she leverages images one might associate with marking transitions or temporal site: construction fences, festoons, and caution tape. The work’s constant thread is an inquiry into how quotidian images can explore personal circumstance and transcend themselves. A process the artist terms “a kind of aesthetic redemption.”
"To call Hays’ paintings landscapes probably isn’t be the best way to describe them, but it’s not inaccurate. She uses images of construction fences, festoons and caution tape minus the actual landscape, which remains only through implication — kind of like a temporary map of a place that’s in transition. In the same way that blueprints stand in for a building before it’s built, but are really no more than ink on paper, Hays’ works break down a place to its bare essentials. The new paintings in her show at Threesquared, curated by Sara Estes, are just as aesthetically pleasing as the traditional Japanese woodblocks you’ll see at Vanderbilt Fine Arts Gallery this season, but with a distinctively contemporary sentiment."
- Laura Hutson, "Winter Arts Preview", Nashville Scene
Threesquared
427 Chestnut Street
Nashville, TN 37203
threesquaredgallery@gmail.com
J. Crew Company purchases drawings
Thanks to J. Crew (again!) and Gallery Ell for a recent purchase of five works for their collection.
August 2011
galleryELL @ governors island, nyc:
transient landscape: visualizing governors island
a two-part project that takes a broad look at the influence of our ever-changing landscapes — physical and psychological — through a variety of media, as well as gives the public an inside look at our artists at work.
transient landscape: visualizing governors island
a two-part project that takes a broad look at the influence of our ever-changing landscapes — physical and psychological — through a variety of media, as well as gives the public an inside look at our artists at work.
March 2011
element-progress, an Upstate NY Exhibition
9 april-21 may
opening reception: saturday, 9 april 2011, 7-10p
@ spool mfg. | 138 baldwin street, johnson city, ny 13790
hours: saturdays, 1-3p and by appointment
closing reception: saturday, 21 may 2011, 7-10p
galleryELL is pleased to present “element - progress,” a group exhibition at spool mfg., curated by john ros.
“element - progress,” is a group exhibit about materials, process and the experience of making and viewing art. space acts as catalyst and participant in this exhibit and the vast galleries of spool mfg. make for an exceptional installing and viewing experience. the exhibit will feature the work of annie varnot, joel bacon, kirsten nash & nancy hubbard from new york city; jodi hays & richard feaster from nashville, tennesee; and kariann fuqua from columbus, georgia.
Thank you to Sloss Fine Woodworking, based in Nashville, for creating a perfect set of wooded ledges to display my drawings for the show.
Summer Residency
The Department of Parks in Hot Springs National Park, Arkansas has awarded me a as Artist in Residence for the month of July. I am especially interested in studying the rock formations at the Ozark foothills at Gulpha Gorge and how these might inform my work.
9 april-21 may
opening reception: saturday, 9 april 2011, 7-10p
@ spool mfg. | 138 baldwin street, johnson city, ny 13790
hours: saturdays, 1-3p and by appointment
closing reception: saturday, 21 may 2011, 7-10p
galleryELL is pleased to present “element - progress,” a group exhibition at spool mfg., curated by john ros.
“element - progress,” is a group exhibit about materials, process and the experience of making and viewing art. space acts as catalyst and participant in this exhibit and the vast galleries of spool mfg. make for an exceptional installing and viewing experience. the exhibit will feature the work of annie varnot, joel bacon, kirsten nash & nancy hubbard from new york city; jodi hays & richard feaster from nashville, tennesee; and kariann fuqua from columbus, georgia.
Thank you to Sloss Fine Woodworking, based in Nashville, for creating a perfect set of wooded ledges to display my drawings for the show.
Summer Residency
The Department of Parks in Hot Springs National Park, Arkansas has awarded me a as Artist in Residence for the month of July. I am especially interested in studying the rock formations at the Ozark foothills at Gulpha Gorge and how these might inform my work.
November 2010
The Loading Dock- Gallery Ell Artists
Nov 23-Dec 22, 2010
Reception Dec 2, 2010
170 Tillary Street
Brooklyn, NY 11201
Home Show
Nov 4-27, 2010
curated by Libby Rowe- includes "A Place for Regrets"
Blue Star Art Complex
Justice Works Gallery
San Antonio, TX
June 2010
Thanks to J. Crew Company, newest patron of Jodi's work, and Gallery Ell in Brooklyn, NY.
March 2010
Jodi's work will be included in Art Chicago with Tanner Hill Gallery.
