Acclaimed artist and UAL Fine Art Professor Charlotte Hodes is exhibiting new work this summer, including an ambitious twelve-metre frieze commissioned specially by Wolverhampton Art Gallery.
Remember Me: Charlotte Hodes Papercuts and Ceramics opened 3 June and runs until 3 September 2017.
Remember Me is a solo exhibition of intricate papercuts and ceramic work. The central wall installation features over 120 individual ceramic plates arranged to create a single image that combines elegant historic patterns with contemporary imagery. To be read from left to right, a female figure wanders across the ware through a landscape of vessels and pattern.
This visually powerful new work demonstrates Charlotte Hodes’ playful yet challenging approach to the aesthetic potential of domestic objects, both past and present. Central to her work is an exchange between craft and fine art practice. Hodes has been a prominent figure within this debate, freely exploring craft led processes and drawing on the rich iconography of the decorative arts.
Remember Me builds on Hodes’ prize winning work for the Jerwood Drawing Prize in 2006, her solo exhibition Fragmented Images at The Wallace Collection in 2007, her participation in Glasstress: White Light White Heat exhibitions at both the Venice Biennial 2013 and The Wallace Collection in 2013 and her solo exhibition Dressed in Pattern at jaggedart and Circusin 2016.
Councillor John Reynolds, cabinet member for City Economy, said: “The gallery has always been a great champion of new art work and we are delighted that Charlotte has agreed to work with us on this exhibition.”
The exhibition will also feature Hodes’ major table installation, Spode Trees and Dressed Silhouettes, first shown at the British Ceramics Biennial in 2015 (supported by an ACE grant) as well as three series of her signature papercuts. This includes a selection of papercuts and plates from her series Grammar of Ornament, made in response to Owen Jones’ 1856 publication of the same name. There will also be an illustrated catalogue to accompany the exhibition, with an essay by Observer writer Kate Kellaway.