Bio
Jodi Hays is a Nashville-based artist and curator. She has exhibited her work at galleries and museums across the United States and Germany including at the Corcoran Gallery of Art, the Brooks Museum of Art, Wiregrass Museum of Art, The Cooper Union and the Boston Center for the Arts. Her work can be found in important public and private collections including J. Crew Company, the Tennessee State Museum, and the Arkansas Art Center. Her work is documented in seven exhibition catalogues, and has been positively reviewed in publications such as Number and Sharon Butler’s Two Coats of Paint. She is a recipient of several grants, awards, and fellowships including from the Sustainable Arts Foundation, Elizabeth Firestone Graham Foundation and the Tennessee Arts Commission. Hays holds a BFA from The University of Tennessee (Knoxville) and an MFA from the Vermont College of Fine Art. Residencies include the Cooper Union and Vermont Studio Center. She lived and worked in Boston for a number of years where she was Assistant Director at the Cambridge Art Association, moving to East Nashville in 2005 where she maintains a studio and pop-up gallery Dadu. Her practice includes work with COOP Gallery (a Nashville-based curatorial collective for which she was a founding member) and teaching.

Hays’ solo exhibition God Sees Through Houses will be on view at Lipscomb University’s Gallery of Art, opening August 27, 2018. She is represented by Red Arrow GalleryShow and Tell and Flat File Art.

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.
The paintings become ways I demarcate physical and psychological borders. This composite of influences on the work becomes an account of events and spaces, the painting serving as a surrogate souvenir.    

Through my work I address the nature of representation through process (surface, space, color, gesture) and image (grid, screens, flags), usually parallel to titles.The painter chooses what to keep as a prompt or motive for making a painting. I think of my work in conversation with contemporary genre/history paintings, leveraging the use of a photo/collage aesthetic, capturing a moment in time. 

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