jodi hays often works in series because the use of repetition, as opposed to undermining individuality, heightens difference and variation. the more things close down -- the more they open up -- the deluzian notion of repetition as becoming. present connects part to future, like a chain link fence or row of orange cones.

hays is engaged in a dialogue on the cultural habit of marking transitional events. she is drawn to images (flags, festoons, tents, fences, bouquets) that one associates marking temporary site or fleeting action (grand opening, construction, party, funeral, wedding)[1]. her work is an inquiry into how quotidian images, outside of their original context, can explore personal and collective circumstance.

[1] tents temporarily designate interior from exterior. bouquets are physical reminders or markers of a fleeting occasion or celebration. industrial fencing temporarily defines a site in transition, creating boundaries that alert us to repair, restoration, or hazard. festoon flags hung from corner to corner attract attention only to immediately point to their context.

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