ABOUT
Todd Jones is a contemporary artist and educator based in North Carolina whose work explores themes of memory, reclamation, and identity through innovative approaches to painting and sculpture. He holds an MFA in Painting and Drawing, as well as a Graduate Certificate in Visual Arts Management, from Ohio University. Additionally, he has a BFA in Studio Art and Psychology from Florida State University. His practice often involves transforming discarded materials, particularly house paint, into stratified sculptures and installations investigating residual histories and the concept of place.
Currently serving as Assistant Professor and Gallery Director at Meredith College in Raleigh, North Carolina, Jones brings academic and curatorial experience to his role. He teaches various studio art courses and oversees the college's galleries, curating approximately six exhibitions annually. His commitment to arts education is further evidenced by his completion of intensives and workshops at institutions such as the Penland School of Craft and the Tyler School of Art.
Jones's artwork has been recognized through numerous awards, grants, and residencies. Notably, he received grants from the VAE Snapdragon Fund, in partnership with The Andy Warhol Foundation, and a Rauschenberg Foundation Grant. He was a 2022 Miami University Young Painters Competition finalist and a finalist at the Fifth Edition of the Boynes Emerging Artist Award. His practice has been further developed through residencies at the Siena Art Institute, Hambidge Center for the Creative Arts and Sciences, Wildacres Retreat, and the Diamante Latino Artist-in-Residence program.
His exhibition record includes solo shows at 934 Gallery, Diamante Arts and Cultural Center, Elon University, 621 Gallery, and Ohio University. Jones has also participated extensively in group exhibitions nationwide, including showcases at ArtFields, the Spartanburg Art Museum, and the Florida State University Museum of Fine Arts. His artistic journey and unique approach demonstrate a consistent investigation into material histories and the evocative power of remnants within his multifaceted career as an artist, educator, and curator.
ARTIST STATEMENT
Inspired by archeology—excavating, collecting, and re-presenting materials—I transform discarded and mistint house paints into sculptures. These sculptures 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.