A N D R E W H AY E S : D E N S I T Y
A N D R E W H AY E S : D E N S I T Y
A N D R E W H AY E S : D E N S I T Y Exhibition: June 1 - June 30, 2017 Reception for the Artist: Friday, June 2, 5:30 - 7:30 Front Cover: Circumscribe, detail, 16 x 8 x 5 in, steel, altered book Back Cover: Part and Whole, 9.5 x 8 x 4 in, steel, altered book Essay Š 2017 Donna Seager Photo Credit: Steve Mann of Black Box Photography Asheville, NC Catalog Design: Donna Seager, Seager Gray Gallery Direct all inquiries to: Seager Gray Gallery 108 Throckmorton Ave. Mill Valley, CA 94941 All rights reserved.
A N D R E W H AY E S : D E N S I T Y In Andrew Hayes’ series, Lines, six sculptures are created, each emanating from a small rectangular prism, a steel terminus 3 x 2 x 1”. By simply attaching layered bands of paper, tethering them in one or two places only, he has created a new vocabulary of possibilities. Seen in a row the colored bands of paper create a visual alphabet. The formula is like a perfect mathematical equation that works for an endless variety of visual forms. It is ingenious in its utter elegance and simplicity - drawings in space. In Density, Hayes’ third one person exhibition with the gallery, the artist has expanded on his earlier work, while adhering to his practice of combining finely wrought perfectly fabricated steel with paper. In earlier shows, the paper was nearly always from books. In this new show, we see him working with French printmaking papers as well, offering him the opportunity to work with longer sheets than can be found in books and an expanded color palette. Crossing, for instance has very much the studied balance and perfection contained in the book sculpture, but by using the paper instead of book pages, he was able to insert color into the mix, in this case a desert orange and gold. In Sea Wall, he uses the blue French paper coaxing it into a subtle wave on the surface and capturing that sliver of sea with its wave in a channel of steel. “In my process,” says the artist, “I start with book pages or paper that has interesting colors or textures or is of a size that interests me. I then cut the pages from the binding in the case of books or just start cutting away at the stack of paper to find an interesting shape. After I find that shape I start to think of ways to hold it in stasis by adding metal and then building up the metal form in hopes of creating a balance between the two materials.”
“In a way,” he explains, “I have to refine the fabrication to do justice to the beauty of the paper. The process is organic. I want to find a balance between the paper and the steel, and not allow one to overpower the other, although sometimes you do want the paper to steal the show because you want to honor it.” Hayes’ concerns are primarily formal. His practice might be compared to that of Fletcher Benton, a sculptor who, like Hayes, took great pains to refine his fabrication, honing every corner and weld until the shape takes on a studied perfection. Hayes has that innate sense of “rightness” of form that is indispensible to a fine art sculptor, but searches for that unusual variation in shape or twist of the paper that makes each work unique and interesting. In speaking of his sculpture Structure, one of the earliest works in the show, Hayes speaks of a “sensitive” corner that pleases him in such a mammoth work. The mass of steel is a statement in itself, counterweighted by the thick section of pages from what seems to be a larger tome, perhaps a massive dictionary or encyclopedia. The feeling is monumental, like passing a huge mesa in the dark, its heavy presence felt in the bones. If in Structure, steel takes center stage, in Arroyo, it is all about the paper. In Hayes’ native Arizona, an arroyo, is a dry river bed that occasionally gets filled during the rains. No doubt the golden brown edges of a particular kind of book enticed him to create a wide expanse of pages, curved as though adhering to the surface of the earth, an abstract remembrance of the Southwest landscape. Andrew Hayes has come a long way since we first showed his work in 2013. His work appears in collections at the Yale Museum of Art, the Houston Museum of Art and Black Mountain College. He has been the subject of many reviews and articles and is a favorite among online zines such as Design Milk and Beautiful Decay. He had a one person exhibition at the Hunterdon Art Museum this year in Clinton, New Jersey and is a sought after teacher. It is, however, in the studio that his greatest strides are made. In these sophisticated works, he continues to push boundaries while adhering to rigorous standards of flawless fabrication. His instinct for composition and form becomes ever more refined by curious investigation, faith in process and an ever-deepening understanding of his materials and the various ways they can behave. Arroyo -------------------------------8 x 9 x 6 in steel, book paper, 2017
Donna Seager, May, 2017
Circumscribe -------------------------------16 x 8 x 5 in steel, book paper, paint, 2017
Crossing -------------------------------9 x 9 x 5 in steel,paper, paint, 2017
Inverse ---------------------------25 x 5 x 4 in steel and book paper, 2017
Part and Whole ---------------------------9.5 x 8 x 4 in steel and book paper, 2017
Scale I and II ---------------------------26 x 22 x 3.5 in steel and paper, 2017
Sea Wall ---------------------------25.5 x 3.5 x 4.5 in steel and paper, 2017
Spelean ---------------------------15 x 4 x 3 in steel and paper, 2017
Stanchion ---------------------------23 x 5.5 x 4 in steel, paper, paint, 2017
Structure ---------------------------13 x 27 x 12’’ in steel, book paper, 2017
Whole and Parts ---------------------------16 x 7 x 3 in steel, paper, 2017
ANDREW HAYES: Lines
Lines Collection ---------------------------13 x 5 x 36 in steel, paper, 2017
Line 1 ----------------------------
Line 2 ----------------------------
9 x 3 x 5 in steel, paper, 2017
8 x 6 x 1 in steel, paper, 2017
Line 3 ----------------------------
Line 4 ----------------------------
9 x 2 x 4 in steel, paper, 2017
6 x 5 x 1 in steel, paper, 2017
Line 5 ---------------------------8 x 4 x 5 in steel, paper, 2017
Line 6 ---------------------------3 x 4 x 4.5 in steel, paper, 2017
ANDREW HAYES EDUCATION 2007 - 2009 Core Fellowship, Penland NC 2000 - 2004 Northern Arizona University, bachelors of fine art candidate SOLO EXHIBITIONS 2017 2016 2015 2014 2013 2012
Andrew Hayes: Density, Seager Gray Gallery, Mill Valley, CA Andrew Hayes: Paper and Steel, Hunterdon Art Museum, Clinton, NJ Andrew Hayes: Sculpture, Joan Derryberry Art Gallery, Tennessee Tech University, Cookville, TN Between the Covers: Book Art by Andrew Hayes, Upstairs [Arts Space] Tryon, NC Andrew Hayes: Passages, Seager Gray Gallery, Mill Valley Andrew Hayes: Volumes, Seager Gray Gallery, Mill Valley, CA Tributaries: Andrew Hayes, National Ornamental Iron Museum, Memphis, TN Strata:Paper and Steel, Lux Center for the Arts, Lincoln, NE Altered Books, Gallery at the Museum of Contemporary Craft, Portland, OR Diction, Penland Focus Gallery, Penland, NC
SELECTED GROUP EXHIBITIONS 2017
From These Woods, Moss Arts Center, Virginia Tech, Blacksburg, VA Material Matters, Seager Gray Gallery, Mill Valley, CA Inspired – The Exhibition, Penland Gallery, Penland, NC The Well Designed Object, Penalnd Focus Gallery, Penland, NC I.M.A.G.I.N.E Peace Now, Traveling Group Exhibition, ECU Greenville, NC Codex Internationals Book Fair, Represented by Seager Gray Gallery Richmond, CA Art in Flux, Blowing Rock Art and History Museum, Blowing Rock, NC Building Books, Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ
2016
PULSE Miami, Represented by JHB Gallery, Miami, FL Metamorphosis: The Art of Altered Books, Fuller Craft Museum, Brockton, MA Un Bound Narrative, Cameron Art Museum, Wilmington, NC This is Not a Book: Chapter 2, San Jose Institute of Contemporary Art, CA ArtMrkt, Represented by Seager Gray Gallery, San Francisco, CA Maximum Craft, Signature Gallery, Atlanda, GA Material Matters, Seager Gray Gallery, Mill Valley, CA
2015
Artists Altered Books, Sawtooth School for Visual Arts, Winston Salem, NC Ten Years of Artists’ Books, Brooklyn Pubic Library, curated by Donna Seager Structure Penland Group Show, Blue Spiral, Asheville, NC Art on Paper, represented by JBH Gallery, Pier 36, New York, NY Codex International Book Fair, Represented by Seager Gray Gallery, San Francisco, CA The Penland Experience: Works for the UALR Permanent Art Collection and the collection of Robyn and John Horn. University of Arkansas Little Rock, Little Rock, AR The Fine Art of Contemporary Craft, Watson MacRae Gallery. Sanibel, FL The Art of the Book, Seager Gray Gallery, Mill Valley, CA
2014
Miami Project, Represented by JHB Gallery, Miami Beach, FL Aqua Art Miami, Represented by Seager Gray Gallery, Miami Beach, FL Winter Selections, J. Johnson Gallery, Jacksonville Beach, FL Odd Volumes: Book Art from the Allan Chasanoff Collection, Yale Art Gallery, New Haven, CT Somewhere Between Creation and Destruction, Joseloff Gallery, Hartford University, Hartford, CT Pulp Culture - Paper is the Medium, Morris Museum Morristown,
Boundless: The Book Transformed in Contemporary Art, Mesa Contemporary Art Museum, Mesa, AZ ArtMrkt Represented by JHB Gallery, Hamptons, NY Transformed/The Sculpture of Books, Graficas Gallery, Nantucket, MA Ex Libris, J. Johnson Gallery Jacksonville Beach, FL Bound and Beautiful, The Art of Books, Watson MacRae Gallery, Sanibel, FL ArtMrkt, Represented by Seager Gray Gallery, San Francisco, CA The Art of the Book, Seager Gray Gallery, Mill Valley, CA
2013
CONTEXT Art Miami, Represented by Seager Gray Gallery, Miami, FL Spectrum Gala, Hunter Museum of American Art, Chattanooga, TN Iron + Carbon: 3 in Steel, Yadkinville Cultural Arts Center, Yadkinville, NC Collectors Choice, Invitational, Green Hill, Space for NC Art, Greensboro, NC This is Contemporary Art, Marta Hewett Gallery, Cincinnati, OH Summer Salon, Blue Spiral 1, Asheville NC ArtMrkt, Represented by Seager Gray Gallery, San Francisco, CA The Art of the Book, Seager Gray Gallery, Mill Valley, CA Metal Bound, Featured Artist, NoMa Gallery, Charlotte, NC Codex International Book Fair, Represented by Seager Gray Gallery, Materials Matter, Seager Gray Gallery, Mill Valley, CA Artist’s Assistant Kohler Arts/Industry Residency Program, Kohler, WI
TEACHING AND RELATED EXPERIENCE 2017 2016 2014 2009 –
North Carolina Arts Council Fellowship Steel as Voice, summer session 1, Haystack Mountain School of Crafts, Deer Isle, ME Visiting Artist lecture and Demo, Stamps program, University of Michigan, Ane Arbor, MI Focus on Fabrication, Penland School of Crafts, Penland, NC Student Craft Institute, Haystack Mountain School of Crafts, Deer Isle, ME Artist in Residency Penland School of Crafts, Penland, NC (2014 – 2017) Co-Teacher Clay and Steel Studio Intensive with Brad Miller and Michael Sherrill. Anderson Ranch, Snowmass Village, CO Visiting Artist, lecture and demonstrations, Penland School of Crafts, Penland, NC 2012 Studio Assistant Hoss Haley, Asheville, NC
PUBLICATIONS AND FEATURES Making Good: An Inspirational Guide to Being and Artist Craftsman, Schiiffer Publishing Inspired Life in Penland’s Resident artist and Core Fellowship Programs, Penland School of Crafts Mallette, Catherine. Ironwork Today 4, Schiffer Publishing 0’ Sullivan, Joanne. Beyond Words, Andrew Hayes’ Sculpture Deconstructs the Book, WNC September/October issue Print Dacheux, Stacy. Sleek Sculpture Combines Metal with Pressed Book Pages. Beautiful Decay August 7 2013 Young, Meghan. Artist Andrew Hayes Manipulates Metal and Novels.Trendhunter August 9 2013
Baker, Sara. Andrew Hayes – Artist, American Style Issue 74 Winter 2010- 2011 Print COLLECTIONS (forthcoming) Ritz-Carlton, Chicago, IL Yale Art Museum, Yale University, New Haven, CT Museum of Fine Art Houston, Houston, TX Robyn and John Horn Wingate University, Wingate North Carolina Black Mountain College, Black Mountain, North Carolina Mary Austin, Founder, San Francisco Center for the Book, San Francisco, CA