Charlotte Hodes

Works
Biography

Born in London in 1959, Charlotte Hodes is a multi-disciplinary artist. Hodes studied Fine Art at the Slade School of Fine Art where she was under the tutelage of Early Collection member, Lawrence Gowing. Upon graduating, she founded Culford Press with her husband, sculptor and printmaker Paul Coldwell, in 1985. Hodes held her first solo exhibition several years later at the Eagle Gallery, London in 1992. Hodes has since held numerous solo exhibitions in galleries around the world, including Galerie 88 in Kolkata, The Wallace Collection, London, Marlborough Fine Art, London and Clara Scremini Gallery, Paris.

Hodes has been the recipient of multiple residencies throughout her career, including a residency at the celebrated ceramic factory Spode in Staffordshire, The Wallace Collection in London and The Clay Studio in Philadelphia. She has collaborated with several studios including the National Glass Centre, Berengo Studio and Murano and Venice Projects Italy. Hodes has lectured at universities across the United Kingdom and in 2012 was appointed Professor of Fine Art at the University of the Arts, London. Hodes’s work is held in a number of public collections, including those of the V&A, the British Council and Brighton Museum and Art Gallery. Hodes’s Self-Portrait as Ornament (2013) was acquired by Ruth Borchard Collection in 2013.

 

Hodes is an artist known for her engagement with the intersections between the fine and decorative arts. Hodes draws on decorative and craft processes in order to produce imagery from the realm of fine arts, as best seen in her incredibly intricate papercuts and ceramic installations.

The artist’s central motif is the female form, as seen in her self-portrait acquired by the Collection. In Hodes's paper collage, Self-Portrait as Ornament (2013), the artist's silhouette is emphasised, a collage of colourful printed fragments amidst a more neutral collagic background. With its meticulously worked surfaces, her self-portrait makes visible the often invisible labour of women, emphasising craft processes through a formal embodiment of them.