Gregory Hayes is based in Brooklyn, New York. Hayes began studying art with original Drop City artist Clark Richert at the Rocky Mountain College of Art + Design, where he received his BFA in Painting and was named Most Distinguished Artist. He received his MFA in Painting from the City University of New York, Brooklyn College where he studied with Vito Acconci. Hayes has exhibited in renowned institutions throughout the United States including Boulder Museum of Contemporary Art, Rocky Mountain College, SCOPE Basel, Art Wynwood, SCOPE Miami, Miami Project with Nancy Margolis Gallery, and with the College Art Association (CAA) New York. He has also been featured in numerous publications, including the Brooklyn Downtown Star, the Denver Post, the Huffington Post, and Art F City.



The paintings in my Amalgamation series are based on the concept of brushless painting, in which the paint is loaded into a dropper several colors at a time and then released onto the surface of the canvas. As the paint flows through the dropper, colors mix and form swirling convex drips that create a field of resonating color and complex spatial structures. My goal is to expose the paint’s natural ability to form shapes and patterns on its own after it is applied to the surface of the canvas.

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Color Array

In my Color Array series, I use a predetermined pattern based on the Archimedean spiral combined with the unpredictability of the interaction of my process and the materials used to produce systemic images that are fueled by accidental nuances within confined spaces. I lay down drips of paint on pre-drawn ¼ inch grids. This involves applying paint to the surface of the canvas and allowing it to form natural convex circles. The application process causes there to be multiple colors within each individual drip, and the proportions of the colors change gradually as the process continues. Visually, the drips coalesce to reveal a larger pattern. I try to control the amount of paint in each region equally, but ultimately the paint has a life of its own due to its physical properties and to gravity. I welcome these chance interventions. —Gregory Hayes

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For this new series of paintings I wanted to push past the typical end point of my process and make that the new beginning point of my process. So I decided to try pouring paint onto a flat smooth surface in individual 1/4" strips with approximately equal lengths, using a continuous flow of different color paint to create a swirling gradient from one line of paint to the next. Then let it dry. After that I could peel them off the smooth surface and then begin the painting from that point. Starting from what I normally considered the end of a work--after the paint dries.

Now I could arrange the ribbons of paint onto a canvas in a new manor. So I began placing them in the order they were made but now partly overlapping, like sentimental layers of earth building up over time. Trying to place them as even and straight as possible, but also allowing my inconsistencies and the variations in the dried paint ribbons to guide the processes as well. The overlapping then created a texture, and the variation in the line and color created an optical affect, both of which I welcomed. The end result was a landscape of softly shifting colors. —Gregory Hayes

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