ABOUT
Todd Jones is a North Carolina-based artist, educator, and researcher who transforms salvaged household materials into stratified sculptures and installations. Examining material culture through the lens of domestic life, Jones repurposes construction debris and commercial waste to create “geological records” of contemporary consumption. By treating discarded objects as physical archives, he documents the shifting values and environmental footprints of modern society.
Jones’s practice is supported by the Snapdragon Fund (a regional regranting initiative of The Andy Warhol Foundation for the Visual Arts) alongside the Robert Rauschenberg Foundation and the North Carolina Arts Council. Expanding his research globally, he has conducted fieldwork on traditional and zero-waste craft methodologies in South Korea, Italy, and Canada. He has further developed his practice through an international residency at the Siena Art Institute in Italy and national programs at the Hambidge Center for the Creative Arts (Rabun Gap, Georgia) and the Diamante Arts and Cultural Center (Raleigh, North Carolina).
Currently an Assistant Professor and Gallery Director at Meredith College, Jones integrates his studio practice into teaching and exhibition curation for the college's art galleries. In 2026, he was awarded the Pauline Davis Perry Award for Research, Publication, and Artist Achievement. His research, informed by his studies in Studio Art and Psychology, investigates the behavioral patterns that drive consumption. He holds an MFA from Ohio University and a BFA from Florida State University.
ARTIST STATEMENT
Household artifacts and materials, such as broken chairs and leftover paint, represent pieces of our stories, choices, and aspirations throughout the rapid rise of consumerism. I treat my studio as a laboratory driven by motivation to understand the origins, limits, and lifecycles of the materials that build our world. Here, I transform readily accessible debris past its intended boundaries, elevating it from a pollutant into a physical archive of human behavior. Through an expanded painting practice, I transform paint and construction materials into sculptural forms that reveal the hidden histories of construction and the remnants of urban and domestic life. Combining my artistic practice, environmental advocacy, and my academic background in psychology, I create artworks that challenge our perceptions of consumer behavior and environmental awareness.
My work focuses on discarded and mistinted house paints, as well as other construction materials, sourced from the local community and landfills. Mistint paint is the physical manifestation of rejected aesthetics and the immediate residue of human dissatisfaction and choice within the attention economy. I view it as a geological record of what society momentarily desires and later discards. Intercepting these paints before they are buried in landfills gives them a new purpose, rather than potentially contaminating the environment.
Through my process, which resembles archaeological activities such as excavation, collection, and curation, I transform salvaged paints into vibrant, stratified sculptures. I pour and cure layers of paint to create dense "paint skins," then carve them, treating this subtractive process as an act of mining the compressed strata of contemporary culture. The shavings from this excavation process are then repurposed and incorporated into resin molds of antiquated household items, such as candelabras and ornate picture frames. Casting modern industrial waste into the forms of antiquated domestic objects creates a tension between historical ideals of permanence and current realities of disposability.
My background in psychology informs how I analyze these materials as symbols of our culture's fascination with identity and attention, depicting the psychological dynamics of shifting cultural desires. I mold together physical waste and invisible memories generated by our ever-changing economy. My connection to these objects begins with observing the lifecycle of possessions, capturing their intrinsic memories and transforming them into tangible artistic forms. By scaling my investigations from the intimate domestic sphere to the broader urban landscape, I examine society's specific waste streams as tangible archives of collective memory, prompting viewers to reflect on their relationship with material possessions, consumerism, and the natural environment.