Los Angeles

Jim Hodges

Marc Foxx Gallery

Pushing daintiness to the point where it becomes strangely unsettling, Jim Hodges makes work that produces “meaning” in the form of disconnected clues. The ephemeral, somewhat ambiguous works assembled here under the title “Yes” flirt with narrative coherence and concrete, physical presence, without placing pressure on the viewer to construct a signifying chain. Unlike a number of young contemporary artists who have taken to narrative-laden visual poetics with a self-conscious relationship to history and memory (Kathleen Schimmert comes to mind), Hodges constructs a symbolic economy that deflects meaning more than it points to it, encouraging a productive brand of disengagement. A spider’s web held together by delicate metal chains attached to the wall with pins discreetly occupied a corner of the gallery (On We Go, 1996); a large but nearly invisible wall drawing executed in blue, purple,

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