Beyond the controlled and skillful application of color, the rich surface texture, the layered palimpsest, and the visual tensions which satisfy the senses, there is the lure of the mysterious in Tim Hayes’ work. Marks and scratches and swaths of color act as signs which lead the observer on a journey in quest of meanings. Hayes’ paintings are like traditional Mbuti barkcloths, which map the sensory data of the sacred forest. But Hayes’ cartography is updated. It charts current-day dualities: infantile glyphs streak like quantum particles past islands of esoteric notational codes; patches of fractal gibberish confront dreamscapes of pastoral quietude.
Hayes’ paintings offer a bounty of visual delight, but the lasting pleasure they offer is open-endedness. No matter how hard we try to deconstruct their meanings, we can never fully succeed. The ultimate satisfaction is the enduring mystery of possible meanings.
Robert Moran is co-founder of OBJECTS Art Studio and was selected at the 1999 Smithsonian Craft Show Washington D.C. Moran’s design and artwork has been exhibited in more than 50 juried and invitational shows and in over 50 showrooms and galleries throughout U.S. in New York Chicago, Boston, Washington D.C., Minneapolis, Houston, Dallas, San Diego, Baltimore, New Orleans, Atlanta and San Francisco
If you would ever have the opportunity to visit Tim Hayes’s house and studio, you would begin to understand the process and the evolution of his recent paintings. A collection of musings, projects, constructions and spaces, the 1950s bungalow that he shares with his wife, Martha, is this architect’s personal experiment, merging idea and action. Armed with his intuition, his insatiable scrutiny, his acceptance of change and his passion for craft, Hayes has reconsidered, redesigned and/or retooled nearly every square inch of the house. From building elements as small as a drawer pull to as large as his studio, Hayes voraciously questions the spaces in which he lives and works by proactively responding to their existing conditions with a passion of a consummate maker. Everything in his house is on the table and subject to be reconsidered, remade and attacked with zeal…even his own previous renovations.
Hayes’s paintings are places in which a similar process of intuition, making, rethinking and remaking are concentrated at a smaller scale. Initial thoughts and gestures serve as calls to action, just as the architect’s first sketch begins to divine space and form…but it does not end there. Just like his home renovations, moving from idea to material is not a straight line, but subject to a series of starts and stops, of rethinking and redoing, of questioning and honing, of adding and erasing. Compressed into a surface, the paintings may unveil small hints of the initial ideas and musings, but far more intriguing in Hayes’s images are the layers of thinking, scratching, drawing, painting, covering and repainting which reveals the craft of an artist who works through the ebbs and flows of his thoughts and his actions to make things whole, if only for a little while.
Karl Puljak is director of the School of Design at Louisiana Tech University. Karl fulfilled the requirements for the Master of Architecture from the prestigious Cranbrook Academy of Art. His architectural experience is extensive with time spent Vienna, Austria, Bloomfield Hills, Michigan, St. Louis, Missouri and Ruston, Louisiana. Karl is widely published with emphases ranging from Why Do You Always Make Us Think? (The predicament of beginning), to Buy Five, Get One Free: Firework Stands
If I had only one word to describe Tim Hayes’ work as an artist, it would be “energy”, in both process and product. Energy is not only inherent in his work but it is also a defining characteristic of the artist. Tim’s paintings are both visually entertaining and intellectually challenging. Through his combination of representational and non-representational imagery, he takes viewers beyond the initial visual response and challenges them to a more in-depth examination. One senses that there are intellectual underpinnings that can be discovered if only he takes the time. Although he frequently uses limited applications of bright colors as accents, Tim’s color palette is more often muted and sometimes monochromatic. This use of color could be a reflection of his experience as an architect; however, in the hands of this artist it has become an effective design strategy. At this point in time, Tim has accomplished something that most painters strive for but find elusive, some never attaining. That is a signature style that gives continuity to a whole body of work. Once you have experienced one of Tim’s paintings you will have no difficulty recognizing his hand in subsequent works.
Charles Harrington is a signature member of the American Watercolor Society, the International Society of Acrylic Painters, the National Oil and Acrylic Painters’ Society the National Society of Painters in Casein and Acrylic. His work has been shown in these and numerous other national and regional venues. Publica in periodicals include American Artist Magazine, American Artist’s Workshop Magazine, Watercolor Magazine, Watercolor Magic Magazine and Artist Magazine. His first book The Watercolor Alternative, was released by North Light Books in 2005. www.charlelsharington.com
Tim Hayes is in the process of building a splendid body of work. I thoroughly enjoyed Tim’s wonderful exhibition in the Visual Arts Center Gallery a few years back. I was aware of his background in architecture, and had admired the virtuosity of his Prismacolor renderings, but I was unprepared for the painterly beauty of the new work. I sensed a parallel to architecture in the monumentality, sure sense of scale, beautifully nuanced textured surfaces, and richly varied neutral palette of the work.
Tim’s latest work builds on the strengths of this exhibition, while adding fascinating new touches and variations. He has broadened his color palette, while maintaining the monumentality of the earlier work. Most importantly, he has introduced figurative references to the work, peopling the architectural space he creates. A recurrent motif is the bicycle, a familiar accessory to Tim’s campus presence. I think of it as Dubuffet meets Diebenkorn. These references add ambiguity, and his paintings can be read as vertical walls or maps and plans, suitable for a physical or metaphysical journey. Tim is working to keep abstraction relevant to our post-modern era.
Peter Jones is an exceptional professor at the School of Design at Louisiana Tech University with more than 30 years of teaching experience. Among his three degrees is the Master of Fine Arts from the University of Iowa. Peter’s artwork, which includes a passions for small oil painting and photography, has been exhibited in practically every corner of the country. His work is part of the permanent collect at the Wichita Center for the Arts, the permanent collection of Laurance Rockfeller in Woodstock, Vermont and other private collections throughout the country.