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Lori Hayes, curriculum vitae

 

Education  
   
2003-2005 Burren College of Art and National University of Ireland, Galway: Masters of Fine Arts
2001-2003
Brandeis University, Waltham, Massachusetts: Post-baccalaureate Program in Painting
1991-1995 Princeton University, Princeton, New Jersey
  A.B. majored in Art History and Visual Arts
summa cum laude and member of Phi Beta Kappa
Recipient of Frances LeMoyne Page Award in the Fine Arts
Recipient of Louis B. Sudler Prize in the Arts
Certified as Art Educator through Teacher Preparation Program
 

 

 
Exhibitions and Grants  
 

 

 

2008

 Against Oblivion, Brooklyn Public Library, Brooklyn, NY.
   

2007

 Transitory Art: What is Left, Lutheran Church of the Messiah basement installation, Brooklyn, NY.

 

  

2006

 Transitory Art, NY Subway Cars, NYC.

 

  

2005

 MFA Final Exhibition, The New Gallery, Burren College of Art, Ballyvaughan, Ireland
   
2004 First Year Show, Burren College of Art, Ballyvaughan, Ireland
  Drawing from the Burren, Quadrangle Gallery, NUI, Galway, Ireland
  Curated a drawing show of MFA candidates at Burren College
   
2003 Post-baccalaureate Exhibition, Brandeis University, Waltham, MA
  Festival of the Arts Grants Recipient, Brandeis University
  Installed an exhibit inside the Shapiro Student Center
   
2002 Six New Artists, Art Research Associates, Hamilton, MA
  Post-baccalaureate Exhibition, Brandeis University, Waltham, MA
  Festival of the Arts Grants Recipient, Brandeis University
  Organized an Interactive Drawing Project on Brandeis Campus
   
2001 Bright Wings, Wenham Museum, Wenham, MA
  Received grant from Massachusetts Cultural Council for Exhibition
  Overlaps, Mingo Gallery, Beverly, MA
   
2000 Invitational Art Show, Wenham Museum, Wenham, MA
   

 

 

Artist Statement:

I am concerned with the momentary, with the building up and breaking down of paint over time. Each layer reflects a duration of time, deposited on the canvas. Embedded bits and colors hold nuances of memory and emotion.  At once, they hold the history of their making and the unique experience of what an observer projects.  They are small longings, paint-pulses, liminal quests for meaning captured in physical substance.


By pouring into pools of paint, I enter a fluid space that cannot be quantified, named, explained or fully controlled. I stand over a painting. Brush. Mix. Tip. Wipe. Drip. Fuss. Leave. Return. Layer. Scrape. Pour. By playing with the fluid properties of paint, I discover its relationship to structure, boundary, gravity, and edge. As paint dries, it becomes fixed, caught in that moment between human gesture and natural force. What is left is a painting, an object that can have its own history in the world.

 

 

Check out the work of some of my favorite artists, collaborators, colleagues, and friends:

Kate Baird

Sarah Dobkin

Matthew Hittinger

Susan Ross

Janet Shaughnessy (and her blog on the drawing process)

Hal Weaver