KATHLEEN HAYES

About the Artist

Exhibitions Pulp Function, curated by Lloyd E. Herman, Fuller Museum, Boston MA, May 2007–January 2008, traveled through 2010 Patterns of Seeing, 2-person show, ArtSpace, Raleigh NC March–April 2007 Fields (Solo Show), Loyola College Art Gallery, Baltimore, March 16–April 14 2006 Explorations, Maryland State Arts Council Gallery, Baltimore, June–July 2004 Fiber Biennial 2004, Snyderman/Works Galleries, Philadelphia, March–April 2004 Works on Paper/Works of Paper, Snyderman Gallery, Philadelphia, February 2004 SOFA Chicago 2003, Snyderman/Works Galleries Booth, Chicago, October 2003 SOFA New York 2003, Snyderman/Works Galleries Booth, New York, May 2003 SOFA Chicago 2002, Snyderman/Works Galleries Booth, Chicago, October 2002 SOFA New York 2002, Snyderman/Works Galleries Booth, New York, May 2002 MFA Thesis Show, University Art Gallery, The George Washington University, Washington DC, May 2001 ARTScape, National Association of College and University Business Offices, Washington, DC, December 1999–April 2000 Annual Juried Awards Show, University Art Gallery, The George Washington University, Washington DC, April 1998, 1999, 2000, 2001 Annual Student Show, Dimock Gallery, The George Washington University, Washington DC, November 1998, 1999, 2000 Awards Maryland State Arts Council, Individual Artist Award, 2003 Julian H. Singman, Esq. Prize in Design, 1998, 2001 Publications Philadelphia Enquirer, Philadelphia, PA, February 20, 2004 Education MFA, The George Washington University, Washington, DC, 2001 BA, Sonoma State University, Rohnert Park, CA, 1991Exhibitions Pulp Function, curated by Lloyd E. Herman, Fuller Museum, Boston MA, May 2007–January 2008, traveled through 2010 Patterns of Seeing, 2-person show, ArtSpace, Raleigh NC March–April 2007 Fields (Solo Show), Loyola College Art Gallery, Baltimore, March 16–April 14 2006 Explorations, Maryland State Arts Council Gallery, Baltimore, June–July 2004 Fiber Biennial 2004, Snyderman/Works Galleries, Philadelphia, March–April 2004 Works on Paper/Works of Paper, Snyderman Gallery, Philadelphia, February 2004 SOFA Chicago 2003, Snyderman/Works Galleries Booth, Chicago, October 2003 SOFA New York 2003, Snyderman/Works Galleries Booth, New York, May 2003 SOFA Chicago 2002, Snyderman/Works Galleries Booth, Chicago, October 2002 SOFA New York 2002, Snyderman/Works Galleries Booth, New York, May 2002 MFA Thesis Show, University Art Gallery, The George Washington University, Washington DC, May 2001 ARTScape, National Association of College and University Business Offices, Washington, DC, December 1999–April 2000 Annual Juried Awards Show, University Art Gallery, The George Washington University, Washington DC, April 1998, 1999, 2000, 2001 Annual Student Show, Dimock Gallery, The George Washington University, Washington DC, November 1998, 1999, 2000 Awards Maryland State Arts Council, Individual Artist Award, 2003 Julian H. Singman, Esq. Prize in Design, 1998, 2001 Publications Philadelphia Enquirer, Philadelphia, PA, February 20, 2004 Education MFA, The George Washington University, Washington, DC, 2001 BA, Sonoma State University, Rohnert Park, CA, 1991

Artist's Statement

The Fields Series The Fields series evolved out of my desire to engage with the landscape. I was drawn to places where grasses and grass-like plants are a constant feature: suburban lawns, median strip plantings, weeds growing through sidewalks, fields of grain or hay. I have interpreted details of texture, form, and color found in grassy landscapes into the Fields series. In these works, the mesmerizing repetition and deceptive monotony of fields are brought up onto the wall in three-dimensional relief. When I examine a field, and light and currents of air reflect across the surface, it slowly comes to life. I begin to see variations of hue and value. A field of grass is a sea of sameness that’s not really the same. It’s a place where many small similar units form a complex, greater whole. Similarly, my interpretations of such landscapes form a mosaic-like base that pulls the viewer into the interior. Each Fields piece is a constructed of thousands of individual units. Within this sameness there are varied elements: color, length, spacing, and gesture of the forms, which influence the energy of the piece. For me, the “field”—normally the background in a painting or other artwork—becomes the object. This shift of context is meant to coax the viewer out of ordinary patterns of seeing. From a distance, these pieces look like heavily textured surfaces. Upon closer examination, their depth and interacting systems become apparent.