My objects don't defend themselves. A cast resin head, no fixed expression, left to whatever light or shadow lands on it. A terrarium with or without no plant in it at all — just a bare stones under glass, given nothing to justify itself but the attention of whoever stops to look. A gazing globe built from radio parts and repurposed polycarbonate. It doesn't make an image by itself. It receives wind, weather, whoever walks by — without asking what it should receive.

That's the position I work from: control, built precisely, then let go. I work in bronze, aluminum, fiberglass, hand-blown glass, fiber, paper — real materials, engineered and cast and spun and blown by fabricators and glassblowers and engineers I work with closely, not alone. Then the form is asked to act like a living: hold light instead of bouncing it back, sit inside a landscape instead of standing apart from it, get rained on, get walked past, get weathered and changed. The collaboration is part of it, not a footnote to it. The object goes through other hands and other kinds of expertise before I hand it to weather and chance on the other side.

My work touches several lineages and sits fully inside none of them. Land art's idea that a sculpture and its site are inseparable — Smithson, Holt, entropy — that's close to what I do, except I work at the scale of a rooftop or a lobby or a mansion garden, not a remote earthwork. Hans Haacke made the gallery answer to biological time with a condensation cube or a mound of grass — I'm doing something related, but warmer, closer to Agnes Denes's conviction that the act of cultivating something can be the art itself. I work in hand-blown glass and cast acrylic the way the studio glass movement does — Chihuly, Harvey Littleton — but I'm not interested in the material showing off. Glass, for me, is a vessel for something else: light, mineral, growth. And the gazing globe, the garden gnome — figures out of ornamental garden tradition, kitsch to a certain kind of art-world seriousness — I don't use those as decoration. I use them as symbols, carrying real weight, the way Judy Chicago and Miriam Schapiro insisted the domestic and the decorative could carry the full seriousness of fine art. The gnome is not an ornament in my work. It's a symbol doing a job an ornament never gets asked to do.

I don't settle into one movement, and that's not indecision. It's method. I trace it back to Casual Ceremonies, a 1991 group show curated by Bill Arning at White Columns in New York — a title I've kept as a description of my own approach ever since. The dialectic runs through everything I make, at every scale. In process: a form gets engineered, cast, or blown with real technical precision by fabricators and specialists I work with closely — then handed to conditions nobody controls. Sun. Rain. A shadow moving across it. A season doing its slow work. In material: industrial stuff — cast acrylic, EPDM rubber, glitter — sits right next to the geological — a quartz crystal, a Herkimer diamond — two completely different timescales, manufactured time and geologic time, in the same object, neither one apologizing to the other. And in feeling, which is where Casual Ceremonies says it best: ceremony is the seriousness of making something — real attention, real precision, real risk. Casual is my refusal to let that seriousness harden into a position I have to defend. Neither one cancels the other out. They hold, both at once, unresolved, in the same object. That's a dialectic that doesn't resolve into some tidy synthesis. It stays live, as tension, because I want it to.

That's why "chime" is my word for this, and I mean something specific by it — not the ordinary sense of an instrument that catches a passing wind and answers it. A chime like that still holds its own shape; it produces a note that stays recognizably its own, separate from whatever set it ringing. Mine isn't that. There's no gap between the vessel and the wind for a note to happen in. The object has no self set apart from what moves through it. It doesn't ring back at the wind. It becomes the wind, for as long as the wind is there. That's the harder half of what I mean by chime, and I'm not going to soften it: control this precise, built through this much collaboration, exists only to be given up completely. The giving up isn't the ceremony failing. It's the ceremony's whole content.

Work built this way doesn't file under one movement, because it never sits still long enough to be filed. It gets remade by whatever moment it meets — light, season, viewer, site. That openness, held on purpose at every level of what I do, is the actual thread running through thirty years of work that otherwise looks scattered. It isn't scattered. I'm precise about exactly what I refuse to fix.

That openness has real roots. Since the early 1990s — Fawbush Gallery in New York, then solo shows at MoMA, the Wexner Center, Marianne Boesky Gallery, Salon 94 — I've built work that draws as much from natural history as from any one sculptural tradition: the Wardian case, invented by accident; Victorian crystal-gazing; the five hundred million years sitting inside a Herkimer diamond. My permanent commissions — Caves and Minds at Crystal Bridges Museum of American Art, the pollinator garden at Lyndhurst Mansion — carry that same inquiry into public, institutional space. I treat the museum grounds and the gallery interior as legitimate sites for work built to be lived in by time and weather, not protected from them.

Exhibitions and Commissions

  • Caves and Minds

    10' H x 24' W x 2'10" D
    Cast fiberglass, hand-blown glass, specimen crystals
    Permanent commission

    Caves and Minds was made for one of the museum's great interstitial zones — a space awarded through the museum's public art initiative, Art Everywhere. It sits near the entrance to Crystal Bridges' Contemporary American Art Gallery, close to the bridge that carries artwork, craft, and the museum's own Holy Grail Crystal.

    The quartz comes from the Ouachita Mountains, among the clearest crystal deposits in the world. Dozens of clear quartz wands are arranged inside five hand-blown glass vessels — micro-landscapes nested within a larger landscape of seven crystal specimens gathered from around the country, including a Herkimer diamond set in roughly 500-million-year-old dolomite from near my family's land in Upstate New York, alongside Wavellite and Dragon Scale Calcite.

    The piece works through the same dialectic as the rest of my practice: exacting technical control, handed to conditions no one controls.

    Getting the light right, in a room full of daylight, took real time — working with Linnaea Tillett Lighting Design Associates, we tested approach after approach until we found something soft enough that the fiberglass itself seems to hold and glow, washing over glass and crystal rather than striking them. That precision exists for one purpose: to be surrendered to whatever the room's actual daylight does on a given afternoon. The crystal was pulled from the ground; the fiberglass was engineered and cast by fabricators I worked with closely to get exactly this effect. Both are handed, finally, to weather and to the visitor passing through — the industrial and the geologic, sitting inside the same object without either one apologizing for the other.

    At the center, within a lit dome, sits a piece of Peacock Ore, the Stone of Joy — a stone that formed in total darkness, brought into a museum built almost entirely of light.

  • Paula Hayes Garden at The Overlook, Lyndhurst Mansion, Tarrytown, NY

    Lyndhurst Mansion, Tarrytown, New York, 2025–26
    Pollinator garden, three Gazing Globes, Lyndhurst Purple tinted birdbath, bronze Gnome sculpture

    For the surrounds of the 2025–26 renovation of the Overlook viewing platform at Lyndhurst Mansion, I made a mandala-shaped pollinator garden with three Gazing Globes, a Lyndhurst Purple tinted birdbath, and a bronze Gnome.

    Andrew Moore, a longtime colleague and landscape architect at Quennell Rothschild & Partners, worked with me on the planting plan. The palette leans on native grasses — Blonde Ambition blue grama, Northwind switchgrass, Standing Ovation little bluestem — moving through the mandala in bands, with purple coneflower and bluestar amsonia bringing in the color pollinators are actually looking for, and a low run of white clover underneath.

    The Gazing Globe and the garden gnome are not ornaments here — they are symbols, inherited from a garden tradition that treats them as kitsch, deployed with the same seriousness as any bronze on a pedestal. The globes are built from cast-off radio parts and repurposed polycarbonate: objects that don't create an image so much as become whatever arrives at them — light, weather, a passerby's reflection, for as long as that thing is there. The bronze Gnome works the dialectic from the other direction: a symbol built for permanence, returned to a place where it will be rained on, walked past, weathered. Both, along with the birdbath, are colored to sit inside the grasses and coneflowers rather than stand apart from them — not camouflage, but tuning sculpture and meadow to the same register.

    Helen Gould planted her own rose garden at Lyndhurst in the early 1900s — a circle of some 500 roses, originally shades of pink only. She was, by the account of those who knew her, devoted to flowers and horticulture. This garden takes up that devotion and answers it from another century, with instruments — the globe, the gnome — that could not have existed for her, and materials she would not have recognized as garden materials at all. It is a continuation of her care for this site, made in a vocabulary only available a hundred years later.

  • Giant Crystal Terrariums at Cristina Grajales Gallery, New York, NY

    60" H x 10" W, hand-blown glass, shredded rubber, glitter, sand substrate, specimen crystals

    These are terrariums created for gazing rather than growing — tall glass vessels holding no living plant, rather strata of sand, shredded rubber, glitter, and specimen crystals gathered near the top like something set on an altar. I think of them as shrines built from the same impulse that makes anyone collect: the wish to gather what catches you and keep it somewhere you can return to. The terrarium itself was an accidental invention — a London physician sealed a fern spore in a glass bottle in 1829 hoping to hatch a moth, and found the fern thrived in air that would have killed it outside, in soot-choked London. What he'd built without meaning to was a kind of womb made of glass, carrying life through conditions it couldn't survive in the open. By 1851 one of his cases sat inside the Crystal Palace, a plant alive after eighteen years without water, on display in a building made entirely of iron and glass. It was a shrine to what the era had made, and also, quietly, to what the era feared — marvel and dread arriving together, inseparable.

    The Victorians gazed into crystal too, in a different register — crystal balls and scrying mirrors had real vogue, tied to a hope that looking long enough into something clear might show you another world. I don't think that impulse ever left; it just changed instruments. A telescope pointed at the galaxy is a kind of crystal gazing, and I think of my gazing globes the same way — chimes as much as mirrors, open forms built to catch whatever moves through them without insisting on what they should receive. Giving up that insistence is its own kind of loss of control, close to what the Victorians felt reaching for their machines and their séances in the same breath. Something in us keeps wanting an intermediary — glass, crystal, machine — that can carry us a little further than we can go alone. The materials underneath these crystals don't hide what era made them: shredded rubber and glitter sit in the sand like sediment, industrial residue standing in for geologic time, fear sitting honestly next to the specimens rather than smoothed away. Underneath that, something more stubborn — the pull to gather and arrange anyway, even in a glass that holds no plant at all. The undefended object here is a bare stone, given nothing to justify itself but the light that finds it and the attention of whoever stops to look.

  • The Campus, Second Annual Exhibition- 2025

    I carefully joined together my cast bronze, aluminum, fiberglass, hand blown glass, and EPDM rubber sculptures with the soil, insects, and wildness in the 1951 modernist upstate NY high school atrium. I got to know the space slowly, and gardened the wild space for the duration of the exhibition (June - October 2025). 

  • Canoes

    Canoes, 2016, Seagram Building, NYC, powder coated aluminum, stainless steel, live planting, lighting

  • Trees For ETs

    Art Omi, The Fields, Ghent, NY, 2008-2013

    The E (exuberant) is for the dogs and children who could see my artwork made for the Terrestrial wanderers.

    The adult humans saw a messy field I think: Uncut grass, freely flopping flowers, sparkles of glittering glass, and blob forms with weeping evergreens and wily vines.

    The affection I feel for freedom to grow as you are is my approach to a gardens, with minimal cutting or intervention. It’s not that I don’t plan on doing anything at all, in a lot of ways it’s harder to have this kind of garden. Socially it is, indeed. It’s about timing (intervening minimally at the right time), and paying close attention, being very patient (because you will fail at some things and will need to transform and begin again) and be a deep editor in order to stay committed. I have proven in my life this is all possible.

  • Gazing Globes

    Madison Square Park, NYC, 2012, Polycarbonate, silicone, fiberglass, radio transistor parts, glitter

  • Land Mind

    Lever House, NYC, 2012

    Cast acrylic, salt water aquarium with tropical fish and plants, filtration system. silicone planters tropical planting, recycled rubber flooring

  • Land Mind

    Lever House, NYC, 2012,

    Cast acrylic, salt water aquarium with tropical fish and plants, filtration system. silicone planters tropical planting, recycled rubber flooring

  • Paula Hayes/Solo Exhibition

    Wexner Center For the Arts, Columbus, Ohio, 2011

  • Paula Hayes/Solo Exhibition

    Wexner Center For the Arts, Columbus, Ohio, 2011

  • Nocturne of the Limax Maximus

    Museum of Modern Art, NYC, 2010

    Inspired by the dance of hermaphroditic slugs in the forest at night, two electrically lit plantings encased in curvy plastic pods were cared for in the lobby of the Museum of Modern Art as folks passed through.

  • Understory

    Tang Museum, 2010, Skidmore College, Saratoga Springs, NY

    A series of ten dinners and talks in the museum, set amongst living art works cared by Skidmore students over the course of 10 months.

  • Understory

    Tang Museum, 2010, Skidmore College, Saratoga Springs, NY

    A series of ten dinners and talks in the museum, set amongst living art works cared by Skidmore students over the course of 10 months.

  • Understory

    Tang Museum, 2010, Skidmore College, Saratoga Springs, NY

    A series of ten dinners and talks in the museum, set amongst living art works cared by Skidmore students over the course of 10 months.

  • Spells, 2019-2023

    Notational, 2023, Bill Arning Exhibitions, Kinderhook, NY, John Hatfield, Paula Hayes, Robin Kahn

  • Comets, 2022

    Via Lactea, 2022, Cristina Grajales Gallery, NYC

Selected Artworks

  • Only the Hunted

    It began with a search for something like living energy — sculpting heads in clay, chasing expression almost obsessively. So there's a sweetness to what happened next: that expression was eventually given up, handed over to the eye of the beholder, to whatever point of view arrives — light or shadow, reflection or distortion, the great unknown.

    The original heads were 3D scanned, enlarged, then cast in resin from a mold. What's left of the facial detail is suggestive now, more like a ghost than a face — something given over to shadow, to light, to reflection. Every bit of light or dark that passes through is chance, and chance becomes its own story. A landscape, maybe. Or another soul.

    I think of it as an undefended object. The work doesn't hold its expression the way the clay once did — it lets whatever arrives finish it. Not unlike a chime that doesn't repeat itself, only answers whatever wind shows up. The piece stopped being about what I could carve into a face, and became about what light is willing to write there instead.

  • Trapeze Chandeliers at Cristina Grajales Gallery, New York, NY

    Cast Acrylic, stainless steel, wiring

    Shown with 18” diameter rings attachments and bars.

    43” L x 38” W x 56” H

    The Trapeze Chandeliers are inspired by the beauty of trapeze artists, the allure and danger of Datura blossoms, and the kind of light that shimmers away quickly, like aurora borealis, or the first and last light of day.

    The solidity of the lamp defies these kind of feelings, or experiences, so it’s also a kind of paradox about the continuum of living with fleeting feelings, as they are the norm and the rhythm of life.

  • Large Eccentric Silicone Planter

    Cast silicone, 26” H x 38”W

    I’ve been making cast silicone planters since 1999- the Large Eccentric Silicone Planter is my favorite one because it is truly an eccentric form. It changes a space with its personality, and it also feels like part of space immediately.

  • Birdbath

    Cast acrylic, 24" H x 30.5” L x 17.5” W

    Like spiders using every angle we make; telephone wires, metal railings, a door frame- birds find puddles of shimmering water anywhere to flutter their wings and bathe. Light passes through resin with exquisite effects- we can find pleasure and beauty in just watching the world unfold.

  • Birdbath

    Cast acrylic

  • Bird Nesting Tree

    Welded aluminum and cast plastic

  • Crystal Terrarium

    Hand blown glass, substrate, crystals

  • MG33

    Crystal Garden Terrarium MG33, 2010

    Hand-blown glass with gems, minerals. Substrate of sand, earth pigment, micro glass beads, mica. 

    Dimensions: 14.5" H x 18.75” W x 17.5” D

  • Small Classic Fiberglass Planter

    2025, tinted cast fiberglass

  • Hills and Clouds

    Handblown glass terrariums on cut rubber flooring

  • Lucid Green

    Artist book in wall mounted cast acrylic case published by Carolina Nitsch

  • Gnomes

    Cast Aluminum and Bronze

  • Gnome 4

    Painted cast aluminum in moss planting

  • Gnome

    Cast Bronze

  • Living Terrariums

    Handblown glass and living plants, time

  • MG6

    Handblown glass, living plants, time

  • Giant Crystal Terrariums

    Giant Crystal Terrariums, 60” H x 12” W, hand-blown glass, shredded rubber, shredded rubber, glitter, black sand substrate, specimen crystals

Selected Landscapes

  • Klein Landscape

    Santa Fe, New Mexico

  • Klein Landscape

    Santa Fe, New Mexico

  • Klein Landscape

    Santa Fe, New Mexico

  • Klein Landscape

    Santa Fe, New Mexico

  • Elizabeth Rosen Landscape

    Hamptons Landscape

  • Elizabeth Rosen Landscape

    Hamptons Landscape

  • Elizabeth Rosen Landscape

    Hamptons Landscape

  • Tribeca Rooftop Garden

    Native plantings, cast acrylic sculptural planter

  • Tribeca Rooftop Garden

    Native planting, recycled rubber materials, cast acrylic sculptural planter, cast silicone planters, driftwood fence

  • East Hampton Estate

    East Hampton, NY, Coastal planting and my carved black marble birdbath sculpture

  • East Hampton Estate

    Coastal native plants

  • East Hampton Estate

    Coastal native plants planting, historic and contemporary sculpture,

  • Beach House

    Coastal planting and collection of sculptural planters and trees

Connect

About

Selected Exhibitions, Commissions, and Landscapes

Solo Exhibitions and Commissions

2026

“Caves and Minds”, permanent commission, Crystal Bridges Museum of American Art, Bentonville, Arkansas

“Overlook”, permanent sculpture garden, Lyndhurst Mansion, A Site of the National Trust for Historic Preservation, Tarrytown, NY

2018

"Paula Hayes", Aspen Art Museum’s Crown Commons, Aspen, CO (June 1 to October 14, 2018)

2017

“Summer Garden”, rooftop project at Gagosian Beverly Hills, Beverly Hills, CA (April to August, 2017)

2016

“Canoes”, permanent planted commission, Seagram Building, New York, NY

2015

“Morning Glory”, Salon 94 Bowery, New York, NY (February 20 to March 21, 2015)

“Gazing Globes”, Madison Square Park, New York, NY (February 19, 2015 to April 19th, 2015)

2014

“This Bird Saved Me”, Rhona Hoffman Gallery, Chicago, IL (September 12, 2014 to October 25, 2014)

“Paula Hayes”, OMI International Arts Center, Ghent, NY, September 26 to November 11, 2014

“Lucid Green”, Carolina Nitsch Project Room, New York, NY (April 25, 2014 to June 28, 2014)

2012

“Drawings and Objects,” Glenn Horowitz Booksellers, East Hampton, NY (June 30, 2012 to July 30, 2012)

“Hills, Clouds & Giants,” Salon 94, New York, NY (May 6, 2012 to June 1, 2012)

2011

“Land Mind,” Lever House, New York, NY (November 4, 2011 to April 27, 2012)

“Paula Hayes”, Wexner Art Center, Columbus, OH (September 16 to December 30, 2011)

2010

“Nocturne of the Limax maximus,” Museum of Modern Art, New York, NY

“Understory” The Frances Young Tang Teaching Museum & Art Gallery, Skidmore College, Saratoga Springs, NY

“Paula Hayes Domestic,” Marianne Boesky Gallery, New York, NY

2009

“Excerpts From The Story of Planet Thear,” Marianne Boesky Gallery, New York, NY

2008

“Paula Hayes”, Patricia Low Contemporary, Gstaad, Switzerland

2007

“Paula Hayes”, Rhona Hoffman Gallery, Chicago, IL

2004

“Forest,” Salon 94, New York, NY

1998

“Paula Hayes”, Galerie fur Landschaftskunst, Hamburg, Germany

1997

“Paula Hayes”, AC Project Room, New York, NY

1995

“Paula Hayes”, Eigen + Art, Berlin, Germany

1994

Fawbush Gallery, New York, NY

1992

Fawbush Gallery, New York, NY

Selected Group Exhibitions

2024

"Other Realities (Exploring Proximate Mysticisms), Bill Arning Exhibitions, Kinderhook, NY- Justin Vivian Bond, Jesse Bransford, Lionel Cruet, Paula Hayes, Elisabeth Insogna, Frederick Gladding , May 18 2024 - June 23, 2024

2023

"Kindred Spirits", curated by Becky Hart, 2023, Athens Cultural Center, Athens, NY

"Notational", Bill Arning Exhibitions, Kinderhook, NY, John Hatfield, Paula Hayes, Robin Kahn,

2022

"Women's Work", curated by Howard Zar, Lyndhurst Mansion, Tarrytown, New York

"Via Lactea" Paula Hayes, Randy Polumbo, Cristina Grajales Gallery, 50 Vestry Street, New York, NY

2020

“Cross Pollination in Art and the Environment from 19th Century to the Contemporary Moment”, a national traveling exhibition, May 9, Due to begin at Olana State Historic Site, Hudson, NY and Thomas Cole National Historic Site, Catskill, NY, The Cummer Museum of Art and Gardens, Jacksonville, FL, Reynolda House Museum of American Art, Winston-Salem, NC, Crystal Bridges Museum of American Art, Bentonville, AR

2019

“Lyndhurst Flower Show”, Lyndhurst Historic Mansion, Tarrytown, NY (April 5-7)

2018

“The Future is Bright”, Hudson Yards, New York, NY (November 26 to December 28)

“The Cultivist”, Pop-up art installation, New York NY (May 2)

2017

"Birdbath", Museum of Modern Art Sculpture Garden, New York, NY (July 2017 – May 2018)

2015

“Emanation: Art + Process” , Wheaton Arts and Cultural Center, Millville, NJ (May 1, 2015 – January 4, 2016)

Carolina Nitsch booth, The Armory Show, March 5-8

2014

“NYC Makers, The MAD Biennial”, The Museum of Art and Design, New York, NY (July 1 – October 12)

“Brucennial 2014”, Vito Schnabel and the Bruce High Quality Foundation, New York, NY

2013

“David Adjaye, Paula Hayes, Rick Owens,” Salon 94 booth, Design Miami Basel (June 10-13)

Carolina Nitsch booth, Art Basel, (June 13-16)

OMI International Art Center, Ghent, NY, (opened June 15th, permanent installation)

Emscherkunst 2013, Essen, Germany (June 22-October 6)

2012

“Verdant,” Curated by Lisa Tung, Massachusetts College of Art and Design, Sandra and David Bakalar Gallery, Boston

“Glasstress,” Berengo Centre for Contemporary Art and Glass, Murano, Venice, Italy

2010

“Open Score Variations,” Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY

“(Re)designing Nature,” curated by Susanne Witzgall, Künstlerhaus, Vienna, Austria

2009

“Spiritus Mundi,” Eco-Art Exhibition at the Climate Change Conference, Copenhagen, Denmark

“Animamix Biennial” at Museum of Contemporary Art, Taipei, Taiwan

2008

“The Objects Show,” R 20th Century, New York, NY

“Mineral Plant Animal,” curated by Maggie Trakas, Dosa 818, Los Angeles, CA

“Mend,” Proteus Gowanus, Brooklyn, NY

“Something from Nothing,” curated by Dan Cameron, Contemporary Art Center, New Orleans, LA

2006

“Design Miami ’06,” Miami, FL

“Winter Show,” Wave Hill, New York, NY

“Garden Paradise,” Arsenal Gallery, New York, NY

“Garden Improvement,” Wave Hill, Glyndor Gallery, New York, NY

“The Orchid Thief,” Sandra Gehring Gallery, New York, NY

2005

“Down the Garden Path: The Artist’s Garden After Modernism,” curated by Valerie Smith, Queens Museum of Art, Queens, NY

2003

“Project Room,” Ten in One Gallery, New York, NY

2002

“Works on Paper,” curated by Ron Platt, Weatherspoon Museum, University of North Carolina

“What’s the Use?,” curated by Heather Nichol, University of Michigan Art Gallery

2001

“Project Row Houses,” Houston, TX “To the Trade,” curated by Bernard Brunon, Diverse Works, Houston, TX

2000

“Paula Hayes and Joseph Gringely,” The Suburban, Oak Park, IL

“La Ville/ Le Jardin/ La Mémoire,” Villa Medicis, Rome

Landscapes

2016- 2019

"18 Acre Coastal Retreat", East Hampton, NY, with Cook Fox Architects, with native plants meadows, natural pond, dune restoration, green roofs, planted terraces, commissioned living art works inside and outside

“Pariser Garden Planted Installations”, New York, NY

2018

“Idaho Landscape”, Harrison, ID “Dallas Landscape”, Dallas, TX

“Kanders Landscape”, New York, NY

2017

“42 Crosby Street Lobby”, permanent planted commission, New York, NY

2015-2018

"Coastal Retreat", East Hampton

2017


“Lora Reynolds Landscape”, Austin, TX

2010

“Atlantic Ocean Landscape, Phase 04,” East Hampton, NY

“Multi-tiered Crystal Garden, Phase 03,” New York, NY

“David & Monica Zwirner Garden,” Montauk, NY

“Marianne Boesky Garden, Rooftop Forest,” New York, NY

“Paula Hayes & Teo Camporeale Tipi Garden,” Brooklyn, NY

2009

“Treetops Terrace, Moss Garden,” New York, NY

“Hauser & Wirth Gallery,” New York, NY

“Private Residence,” East Hampton, NY

“Bathroom Forest,” New York, NY

“Ells Garden,” New York, NY

2008

“W Hotel Landscape,” Miami Beach, FL

“Multi-tiered Crystal Garden,” New York, NY

“Treetops Terrace,” New York, NY

“Jill Stuart & Ron Curtis Garden,” New York, NY

“David & Monica Zwirner Garden,” New York, NY

“Tom & Andrea Bernstein Landscape,” East Hampton, NY

2007

“Marianne Boesky Garden, Chelsea,” New York, NY

“Private Residence,” East Hampton, NY

“Andrea Kerzner Garden,” New York, NY

“Elizabeth Rosen Landscape,” Watermill, NY

2006

“Iris & Jim Marden Garden,” New York, NY

“Diana & Rafael Viñoly Garden,” Miami, FL

2005

“David Zwirner Gallery,” New York, NY

“Zwirner & Wirth Gallery Garden,” New York, NY

“Lee-Tenenbaum Garden,” New York, NY

“Historic Morven Museum Landscape,” Princeton, NJ, (not executed)

2004

“Howard Hughes Medical Institute Research Campus,” Leesburg, VA

“Atlantic Ocean Landscape,” East Hampton, NY

“Mickey & Jeanne Klein Landscape,” Santa Fe, NM

“David & Monica Zwirner Garden,” New York, NY

“Cleveland Museum of Art,” Cleveland, OH, (not executed)

2003

“Private Residence,” New York, NY

2002

“Jeanne Greenberg-Rohatyn Garden,” New York, NY

2001

“Marianne Boesky Nantucket Landscape,” Nantucket Island, MA

2000

“Marianne Boesky Garden,” New York, NY

“Chris & Illya Vroom Garden,” New York, NY

“Ghost Planting,” Galerie fur Landschaftskunst, Hamburg, Germany

“88 Bleecker Street Lobby,” New York, NY

“Apple Maze,” Bauhaus University, Weimar, Germany

Abbreviated Biography

2024

Garden Fit on PBS, Season2, Episode 6, https://www.pbs.org/video/litt... Little Worlds With Big Ideas, March 2024

2019

NY1, July 1, 2019, “Meet a Brooklyn Artist Who Inspired a Terrarium Home Decor Trend”, Stephanie Simon, https://www.ny1.com/nyc/all-boroughs/news/2019/07/01/manhattan-artist-inspires-indoor-gardens- Dwell, January 2018, “Earthly Delights”, Julie Lasky, pp 44-49

2018

Vogue Mexico, August 2018, “Living Creation”, Regina Montemayor, pp. 162-163
Cultured Magazine, June, July, August 2018, “Earthly Delights”, pg. 216
Cultured Magazine (on-line), July 20, 2018, “Artist Paula Hayes’ Cultured Commission is for the birds”, Sarah Roffino, https://www.culturedmag.com/paula-hayes-2
Landscape Architecture Magazine, June 2018, “Reviving ‘Baltimore’s Front Porch’”, Kim O’Connel, pp. 19-20
Aspen Daily News (in print and on-line), May 24, 2018, “The Aspen Art Museum welcomes birds and a mini-meadow”, Mitzi Rapkin, pg. 7
Artsy (on-line), April 20, 2018, “Terrariums Let Anyone Create a “Perfect World” in Their Own Apartment”, Kate Groetzinger, https://www.artsy.net/article/artsy-editorial-terrariums-create-perfect-world-apartment
Art Forum (on-line), February 21, 2018, “Paula Hayes named the Baltimore Museum of Art's First Landscape Artist in Residence”, https://www.artforum.com/news/paula-hayes-named-the-baltimore-museum-of-art-s-first-landscape-artist-in-residence-74389

2015

Wall Street Journal (in print and on-line), February 16, 2015, “An Enchanted Global Invasion”, Ralph Gardner, pg. A14
T Magazine Blog, February 18, 2015, “Paula Hayes Reimagines a Victorian Totem in Madison Square Park”, Julie Baumgardner
Cultured Magazine, February-March 2015, “Globe Trotter”, Julie Baumgardner, pp. 134-135
Architectural Digest (on-line), Daily AD, February 19, 2015, “Two Paula Hayes exhibitions open in Manhattan “ Hannah Martin

2013

Frame Magazine, May-June 2013, “Nature’s Networker”, Jane Szita, pp. 82 - 91

ARTnews, March 2013, “Growing Power,” Hilarie M. Sheets, pp. 76 - 81

2012

Art in America, October 7, 2012, “Paula Hayes Glenn Horowitz Bookseller,” Matthew Nichols

Interior Design Magazine, January 2012, “Absolutely Breathtaking,” Meghan Edwards, p. 171

Home Review Magazine of India (in print and on-line), February 2012, “Petite Forests,” Mala Bajaj, pp. 127 - 132 http://www.home-review.com/2012/02/petite-forests/...

Garden Design Magazine (in print and on-line), April 2012, “Paula Hayes at Lever House,” Katie Mendelson http://www.gardendesign.com/paula-hayes-at-lever-h...

2011

CBS Sunday Morning, January 16, 2011, “The Growing Trend of Terrariums,” Serena Altschul, http://www.cbsnews.com/video/watch/?id=7251965n&ta...

D Pages (on-line), November 1 2011, http://www.thedpages.com/november-2011#!__november...

Art Threat (on-line), November 1, 2011, “Engaged devotion and care “ Amanda McCuaig, http://artthreat.net/2011/11/engaged-devotion-and-...

NY Observer, (on-line and in print), November 3, 2011 (online), “House and Garden: Paula Hayes Brings the Tropics to Midtown”, Andrew Russeth and Sarah Douglas, (print version November 9, 2011), http://www.galleristny.com/2011/11/house-and-garde...

2010

New York Times, December 3, 2010, “Inside Art: Adding Green Space to MoMA with Tropical Terrariums,” Carol Vogel, Weekend Arts, C26

Artnet, November 18, 2010, “MoMA at its Very Best,” Charlie Finch, www.artnet.com/magazineus/features/finch/on-line-a...

New York Times, May 13, 2010, “For The Table, Biomorphic Shapes,” Penelope Green, Home, D2

2009

New York Times, July 3, 2009, “Art in Review: Paula Hayes…,” Roberta Smith, C24

New York Times, June 11, 2009, “Love Alters the Landscape,” Penelope Green, Home and Garden, D1

New York Magazine, August 3, 2009, “Hiding From the High Line,” Wendy Goodman, pp. 38 - 39

Elle Decor, October 2009, “Clear Thinking,” Jim Shi, pp. 151 - 155

Interior Design, August 2009, “The Artist’s Eye,” Meghan Edwards, p. 134

Garden Design, July/August 2009, “Art: Living Jewel Box,” L. C., p. 19

Vogue Living Australia, July/August 2009, “Living Canvas,” Felicity Loughrey, pp. 191 - 194

New York Times, April 23, 2009, “Shopping with Ken Smith: An Unexpected Oasis,” Elaine Louie, Home and Garden, D4

Verde Es Vida, October 2009, “Paula Hayes,” pp. 20 - 23

Igloo Habitat & Arhitectura, November 2009, “Agenda” | Design,” p.22

2008

Avant Gardeners, Tim Richardson, Thames & Hudson, pp. 132 - 137 1000 x

Landscape Architecture, Sibylle Kramer, Verlagshaus Braun

New York Times Magazine, May 2008, “Green Anchors,” Melissa Feldman, p. 24

New York Magazine, June 2, 2008, “The Deli-Flower Challenge,” Kaija Helmetag, p. 48

The Los Angeles Times, January 24, 2008, “An inside job on terrariums,” Bettijane Levine

2007

Town & Country, April 2007, “Art For A Small Planet,” Carol Kino, p. 108

The New York Times, August 26, 2007, “Possessed: The Eye of the Beheld,” David Colman, p. 8

Dwell, September, 2007, “Terra Ephemera,” Amber Bravo, pp. 162 - 169

Architectural Record, #3 2007, “Janelia Farm Research Campus,” p. 117

The New York Times Magazine, Feb. 26, 2007, “Cool and Collected,” p. 89

2006

Insideout, November 2006, “A Tale of Three Cities. New York,” p. 115

House and Garden, December 2006, “Pushing The Envelope,” p. 76

Interior Design, August 2006, “News Desk,” p. 60

Wallpaper, September 2006, “Wallpaper’s Hot Picks of the Latest Global Goings-on,” p. 69

The Boston Globe, April 6, 2006, “Glass Houses,” Ellen C. Wells

Garden Design, March 2006, “Terrarium Tales,” Joanna Fortnam, pp. 11 - 12