Nayland Blake in Exh. Cat., New York, CRG Gallery, 1991, 1992: Jim Hodges, 2007, p. 33
In Jim Hodges’ exquisite Untitled from 1994, the artist has interlaced a delicate web of brass chains within a diaphanous silk scarf. Hodges stages a conceptual collision between the fragility of the scarf and the strength of the machine-made metallic media woven within it. Together, the gossamer scarf and shimmering web allude to the delicacy and interdependence of human relationships—appreciating their beauty while also acknowledging our own vulnerability within their grasp.
Like his friend and peer Félix González-Torres, Hodges’ work explores the warmth of humanity juxtaposed against the loneliness of isolation. Both artists came of age in the early 1990s, when New York’s creative community was dealing with the devastation of the AIDS crisis. Hodges typically works in domestic, unconventional materials, from paper napkins to glass, and his meticulous, labor-intensive process imbues his installations with a visual poetry attuned to the undeniable temporality of craft. In the present work, the brilliantly vivid veil—transparent, almost-liquid—invites enchantment and tactile curiosity. The intricacy speaks to Hodges' celebration of interrelations and connections, working with the incidental to express something universal. As Hodges explained in 1998, his works "attempt to talk about the bigness of things, the wonder and the greatness of all life" (the artist quoted in Dana Self, Jim Hodges: Welcome, Kansas City 1998, n.p.).
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