Jodi Hays is a Nashville based Artist, Educator, Curator, Mother and more. Ariana and Jodi spend an hour discussing what can only be described as "all the things" as our conversation weaves in and out of so many things including kids, art, parenting, the art scene, the music scene, psychology, EMDR, and babysitting, small town perspective, Jodi asking better questions than Ariana (who is the interviewer!), a shared distaste for housework, and the color turquoise all while hanging out in Jodi's studio.
From Jodi's website:
"Jodi Hays is a Nashville-based artist and curator. She has exhibited her work at galleries and museums across the United States including Corcoran Gallery of Art, Brooks Museum of Art, Wiregrass Museum of Art, Cooper Union and 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 Music City Center. Her work is documented in seven exhibition catalogues, and has been positively reviewed in publications such as Number Inc. and Sharon Butler’s Two Coats of Paint.
She is a recipient of several awards including from the Sustainable Arts Foundation, Elizabeth Firestone Graham Foundation and the Tennessee Arts Commission. Hays holds a BFA (with Honors) from The University of Tennessee (Knoxville) and an MFA from the Vermont College of Fine Art. Residencies include the Cooper Union, National Parks of America and Vermont Studio Center. Her practice includes co-founding Dadu and COOP Gallery and teaching in the MFA at Watkins College of Art."
"Painting can become many things in its particular way of note taking or organizing knowledge; landscape, abstraction, among others. These systems (grids) become a scaffold for pictorial inclinations. Stripes generate a placement in pattern, repetition and seriality. Textiles, associated with warmth, the body, pattern, domesticity and weave (stripes) inform this work, as do fragmentary shapes that are plant-like or jaggedly organic, bringing the “outside” into the studio. Hard-edged shapes exist with more rounded/floral moves, inviting associations with the architecture of the rural; awnings, bead board, weathered boards and lumber.
Paintings can function how a folded map relates to a pocket, holding potential to be a locative device, to consider consequences and ask questions, including and beyond self-reflexivity. The work is always generated from a daily relationship to drawing, painting and reading. My core iconography elucidates a conversation on abstraction and a generative, inexhaustible mark."