ARTIST BIO: RAY HAYES by Darryl Ferrucci
Santa Cruz artist Ray Hayes has spent the last several years engaged in a continuous and prolific exploration of the intersections of disparate phenomena(perceptions).
3rd generation artist on the maternal side, 3rd generation engineer/inventor on the paternal side Ray, 34, synthesizes these two streams of his family history into a unique juxtaposition of the aesthetic and the technical.
Ray's painting process begins with an open-minded approach to visual perception; processing the entopic phenomena of Form Constants into “ghosted-in” inter- dimensional frameworks; in which no form, object, or perception can singularly dominate any part or whole of the construct. Ray takes advantage of the powerful pattern making 'machinery' of the human mind; he allows patterns and visual relationships to reveal themselves , rather than seeking out a subject to focus on. At times using his visual myopia as a tool; allowing that, at a distance, ambiguous details can and must play any number of roles in the big picture.
In the painting practices, back in the warehouse, Ray synthesizes and processes these rich fields of perception in an intensive process of drawing, painting & collage. Juxtaposing and layering his imagery. He deconstructs his vision, mixes it with inspiration and new visual explorations, reconstructing this mix into an ongoing series of vibrant and engaging imagery. In an experimental process of quick free-form design, he fluidly combines a wide range of imagery from both his observation and imagination in a unique and constantly evolving style.
He has a strong interest in the form and design of the simple-practical, the impossible, theoretical, & the intentionally functionless variations that define mechanical objects; stemming from fascinations with Alexander Calder and Franz Reuleaux's work.
Ray freely blends these technologically inspired explorations with other modes of imagery; whether biomorphic, abstract, cartoon-like or straight figurative . In structuring his paintings, he engages in continual deconstruction & re-engineering of perspective, space and experience- to this end, he frequently cuts out, recombines, and layers his images. His paintings may become three dimensional, pointing toward or into the extra- dimensional.
His approach to media and materials used for his work is as fluid as his perceptual practices. He relies wholly upon discarded, recycled, & found materials as his painting surfaces, making a point to never have to purchase the surface.
