"When I got out of graduate school, I stopped Painting because it was overwhelming and because I couldn´t find myself in the material. But I also stopped because I was forcing myself to be a painter because I thought that was what my education had taught me. I realized I had accepted a lot of belief systems that were not necessarily mine. From then on, it was just a slow process of deconstructing this education and breaking things down to simple words. And 'beauty' was one of them.... I felt that I was part of a long tradition investigating what beauty is all about—the mystery of it, the elusiveness of it. So, I set out to understand what that word meant for me."
A Diary of Flowers - Above the Clouds, Jim Hodges, 1995, Ink on 100 napkins with pins.
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"...a tangled diorama covered by a large bell jar... Inside, a lump of earth seemed to sustain a few examples of scraggly plant life, as well as a scattering of dead leaves and a couple of brightly coloured butterflies. Above it, a larger plant might have given the scene some shade were it not made entirely of clear glass. This strange form gives the lie to the rest of the construction: every element in the piece, from the pine needles to the ladybird that can be spied in the undergrowth, is realistically rendered in coloured glass... Its preciousness shouts down the melancholic echoes indicated in its title – one ghostly form rising up over other (differently) ghostly forms, all of which conjure some bucolic and cutesy illustration of a hedgerow wilderness that is itself a ghost of something that perhaps never existed."
GHOST, Jim Hodges, 2008, hand blown glass.
