Review, Nashville Scene
Hays’ grid softens even more with the fabric elements that compose several of her artworks. In these pieces, fabric wraps around the edge of the canvas, which Hays’ paint does not. Fabric as a historically feminine material is, once again, a tradition that Hays plays into. It’s rather impossible to avoid nostalgia when using materials that are found, like worn pajamas or patchwork quilts. Within the context of Hays’ own history, she is calling upon a small-town tradition of reusing and thrifting — in one of the works, fabric from Hays’ grandmother’s curtains peeks through. The seam of literal sewn edges is mirrored in nearby strokes of paint, emboldening the more organic shapes and calling to mind the vision of a woman poring over her craft. Several of the pieces’ names invoke this tradition as well, such as that of one of the most visually dynamic works, “Hem.” Its title suggests both an edge of clothing as well as restrictions, rules, the scaffolding that Hays plays within.