I recently had the opportunity to visit Jim Hodges’ studio. It is always amazing to see an artist in his element, where ideas begin, works evolve in various iterations, and great visions come to life. I have always associated the artist with his manipulated mirror mosaic works, and love how he plays with concepts of perspective, reflection, and visual interaction through those pieces. Hodges utilizes a broad range of both everyday and precious materials, such as 24 carat gold, in his art. In his two-part exhibition late last year at Gladstone Gallery in New York, he presented several large-scale sculptural works that “emphasize the artist’s ongoing interest in a spectrum of materiality and the liminal space between beauty and loss.” He also showed his largest black-mirrored sculpture to date, installed in multiple pieces on various walls in the gallery. In Gladstone’s second gallery space, he created an installation that basically “rained paint” in a large box over the course of the exhibit, creating a dynamic, constantly changing environment where color became a form of movement.
In speaking to us, Hodges noted that he “considered himself first and foremost a drawer”, as all of his artworks originated in the form of a drawing. He utilized the act of drawing almost as a form of therapy, noting that it helps him “get through hard times”. For the past year, he served as the acting chair of the Sculpture Department at the Yale University School of Art, teaching and inspiring students daily. A major retrospective of Hodges’ work, organized by the Walker Art Center and the Dallas Museum of Art, is scheduled for 2013 and 2014. I had the opportunity to view his “idea board” he is working on, as he is extremely involved in the thematic planning for the exhibition in collaboration with the curators of the show. I was extremely impressed by the artist’s articulate description of his art and process, and admired his humble nature. His retrospective should not be missed!