Jay Gard explores form and ornament as fundamental elements of visual culture. From architectural details in the built environment—such as molding profiles, stucco motifs, or the f-shaped sound hole of string instruments—he develops autonomous sculptures through enlargement, isolation, and recombination. His work combines constructive grids and industrial supports with expressive, gestural curves and color-theoretical decisions; recurring is the analysis of historical models, including their palettes, as seen in Sanssouci. Since the 2020s, his earlier geometric approach has shifted toward more open, baroque-like swirls. Frequent materials include aluminum, plywood, and ceramics. Fabrication traces—welds, screws, cut edges, paint splashes, and splatters—remain intentionally visible and make the artist’s hand legible despite a design-level precision.

His work has been shown at Haus am Lützowplatz, Berlin (2020), Jonas Mekas Visual Arts Center, Vilnius (2017), and Museum Gunzenhauser, Chemnitz (2019). In 2023, he realized the sculpture Sanssouci, a five-meter-tall public artwork for the forecourt of the State of Brandenburg’s Investment Bank. The large-scale work Plywood was created for Chemnitz European Capital of Culture 2025. In the same year, he presented the monumental sculpture Baroque Schnörkel at Pilane Sculpture Park on the Swedish island of Tjörn.