ABOUT
Todd Jones is a visual artist and professor based in Raleigh, North Carolina. He currently works as an Assistant Professor and Gallery Director at the Art Department at Meredith College. Originally from Tallahassee in Florida, Todd earned a Bachelor of Fine Arts (BFA) degree, with a double major in Studio Art and Psychology from Florida State University. He further obtained a Master of Fine Arts (MFA) degree in Studio Art, concentrating in Painting + Drawing, and a Graduate Certificate in Visual Arts Management from Ohio University.
Todd's artistic practice is entwined with environmental consciousness and sustainability. He creates sculptural paintings that utilize discarded and mistint house paint sourced from the local community. Todd engages in material explorations and experimental art-making processes by creating works at the intersection of domesticity, consumerism, and geological processes. His art embodies a connection with nature and the complexities of human impact on the environment.
As a professor, he facilitates learning through active observation, experimentation, and critique. He actively encourages creativity in the classroom through conceptual thinking and materials, aiming to improve conceptual development, technical, and professional skills. He believes that art advances the development of learning about ourselves and those around us. He likewise believes creative problem-solving is necessary to navigate our constantly changing environment, and creativity could be applied in every facet of the professional world.
Todd was an artist-in-residence at several well-known creative arts centers, such as Wildacres in Little Switzerland, North Carolina; The Hambidge Center in Rabun Gap, Georgia; and Studio 209 in Thomasville, Georgia. He attended the Summer Painting and Sculpture Intensive at the Tyler School of Art in Philadelphia, Pennsylvania. His work has earned recognitions, including being a Finalist for the 2022 William and Dorothy Yeck Award from the Miami University's Young Painters Competition; and a Finalist at the Fifth Edition of the Boynes Emerging Artist Award. His art has been exhibited nationwide, with solo exhibitions at Gallery 406 at Elon University in Elon, North Carolina; 621 Gallery in Tallahassee, Florida; Trisolini Gallery at Ohio University in Athens, Ohio; and The City Center Gallery at the Urban Arts Space in Columbus, Ohio.
ARTIST STATEMENT
Inspired by archeology—excavating, collecting, and re-presenting materials—I transform discarded and mistint paints into sculptures that fuse memories with the byproducts generated by our ever-changing consumer culture. Like an archeological dig, my process unearths and reframes these resources, reshaping them into records of consumption and shifting desires. These artworks promote sustainability and encourage a rethinking of disposal practices.
In my art practice, I repurpose discarded and mistint house paints gathered from households, hardware stores, and even landfills. These mistints – unclaimed products resulting from incorrect color choices or finishes – represent the failed intentions of buyers or manufacturers. Alongside leftover paints and outdated colors, they signify the conclusion of a purchasing decision. I aim to give them a new purpose by intercepting them before they are disposed of. Deemed undesirable by our culture, these paints symbolize identity tied to fleeting trends, revealing the psychology behind commodity culture.
My process transforms salvaged paints into layered sculptures. This buildup mimics geological stratification. It also parallels the accumulation of memories and the recurring waste generated by society. Through repeated pouring and drying, I create slabs or 'paint skins.' These dense cross-sections reveal patterns of consumer activity and highlight the widespread nature of this byproduct. Finally, I intuitively manipulate and carve these forms. This act references excavation, actively uncovering the material's accumulated past.
My inspirations shift between geological formations and the intimate world of domestic spaces. Antiquated objects, such as candelabras and ornate picture frames, particularly capture my attention. My commitment to sustainability and trash reduction is central. Therefore, the shavings and offcuts from the carving stage are repurposed. I often cast these remnants in resin, using molds made from discarded household items to ensure no resource is thrown out. By recreating these objects sustainably, I seek to give physical form to forgotten stories. This approach anchors the geological quality of the stratified paint within the personal realm of the home.
My creative practice engages critically and constructively with the urgent social and environmental issues of our time. The artwork does not merely reference domesticity; it questions it, exposing the layers of history, waste, and collective memory concealed within the seemingly ordinary. Ultimately, my work seeks to unearth these hidden narratives. It compels viewers to reconsider the significance of the overlooked and the impact of our collective footprint.