Tinney Contemporary Presents
*High resolution images available.
Exhibition Dates: December 7-January 11
Opening Reception: December 7th, 6 to 9 pm
Collectors Art Night: December 6th, 6:45 pm
Tinney Contemporary is pleased to present Scenes, an exhibition featuring work by photographer and installation artist, Dorothy O’Connor. O’Connor’s Scenes is part of an ongoing series that centers around transforming spaces, often a room, into fantastical landscapes which frequently utilize elements of nature and the natural world to tell a story. Each concept, shaped predominantly by events in O’Connor’s life, creates a sort of conceptual autobiography—an interpretation of her own dreams. Building these life-sized installations also allows the artist to literally live inside her own imagination, if only for a short time, and satisfies her need to create a more aesthetically pleasing reality. Each project takes months to complete, allowing O’Connor to fully immerse herself in its meticulous details. She enjoys creating many of the components in each set by hand: crocheting the ocean, crafting hundreds of paper birds, hand-stenciling wallpaper, weaving roots from jute, etc. Learning a new skill each time she builds a new scene helps to keep the process fresh.
This work began as a photography project. The scenes are captured on film and a photograph remains the lasting imprint. Opening them as tableau vivants (installations which feature a live model), however, allows an audience to experience the scenes as O’Connor does, and also allows for viewers to add their own interpretations and ideas, thus making the story a shared experience.
For O’Connor’s installation at Tinney Contemporary, Ceiling of Blackbirds, she knew she wanted to make something out of paper, but as is the case with so much of her work, the specific concept came to her in a dream. In the dream, someone turned to her and spoke the words, "don't forget your funeral." O’Connor woke with a start and within minutes the entire scene was laid out in her mind. She received a grant from Flux Projects to construct the original installation and raised additional funds through kickstarter.com. One of her kickstarter rewards was a handmade paper bird and the option of sending her a small keepsake, something personal, for a bird to carry in the scene. She liked the idea of involving other people's stories and meaningful objects into a project so meaningful to her. The original scene took months to build and featured 220 handmade paper birds. O’Connor has remade the smaller birds for this version of the installation and they are available for purchase, with the proceeds benefitting animal charities in Nashville and Atlanta, as well as helping to defray the cost of recreating and transporting the work.
Dorothy O'Connor graduated from Georgia State University with a degree in Literature and a minor in Studio Arts. She continued her education at The Creative Circus, a commercial art school in Atlanta. Her photographs and installations feature thoughtfully composed, hand-crafted scenes which combine elements of still-life, portraiture, landscape, and performance to produce unique and evocative works of art. In 2012, she was awarded a FLUX grant and presented her installation "Ceiling of Black Birds" as part of public art event, Flux Night 2012. She began 2013 with an artist residency at the Cheekwood Botanical Garden and Museum of Art in Nashville where she built her latest installation, "Shelter." Her work is included the permanent collections at the Museum of Contemporary Art of Georgia, the Center for Fine Art Photography, Cheekwood Botanical Garden and Museum of Art, and many private collections.
In the rear gallery:
New Paintings by Jodi Hays
Guest Curated by Sara Estes
Jodi Hays’s latest series of paintings, Super Scraps, encourages the continuous evaluation and re-evaluation of our visual environment. Her work suggests that ultimately things do fit together. Whether it’s a dilapidated building we pass or a bag we carry or a product we buy, all of these things, despite the inevitable chaos we encounter, are not only related, but also consequential.
Diverging from the highly structured compositions that made up an earlier solo exhibition in 2011, Hays has introduced an element of disorder in her new work. This chaotic component is found amongst the controlled forms in various manifestations. Sometimes it is seen in a single, liberated gesture or a bold interruption of color. Other times it is embodied in an organic shape weaving its way through rigid lines. It’s in the wealth of such thoughtful idiosyncrasies that we discover the principle of flexibility overcoming rigidity. Or in broader terms, softness overcoming hardness.
Hays’s paintings are the culmination of her experiences, both personal and communal. Though pulled directly from her own life, the resulting imagery transcends any attempt at a biographical narrative. The referenced objects and scenes are often stripped of most identifying detail, granting them passage into the realm of ambiguity and allowing them to become nuanced representations of a shared reality. As she continues to reconfigure the world around her, Hays has built a visual language all her own.
Jodi Hays is the recipient of the Individual Artist Fellowship from the Tennessee Arts Commission, an Elizabeth Firestone Graham Foundation grant and her works are included in collections of the J. Crew Company (NY) and Nashville International Airport, among others. Residencies include The National Parks of America, The Cooper Union School of Art and Vermont Studio Center. Her work is included in several curated artists’ registries including The Drawing Center (NY). She currently lives and works in Nashville, TN.
Gallery Contact: Sarah Wilson, email@example.com
Gallery Hours: Tuesday through Saturday, 11 am to 5 pm, and by appointment.