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Professor Charlotte Hodes

Title
Professor of Fine Art
College
London College of Fashion
Tags
Researcher Research
Charlotte  Hodes

Biography

Charlotte Hodes’ practice-led research is informed through her experience as a painter. She creates ceramic installations, ceramic vessels, papercut, print and animated film.
Her iconography centres on women, depicted as silhouettes, juxtaposed with motifs loaded with female associated references such as the vessel, dress and the home.

Her artworks question the traditional position of the female figure as represented in art history, as a decorative motif and as being inextricably linked to the domestic.

‘Hodes’ work is about boundaries: the contours of the female nude, generic hierarchies between craft and art, the decorative and the fine arts, the domestic and professional, the body as a singular identity and the multiplicity of selves afforded by technological reproduction’ – Dr. Hannah Westley

Through the process of drawing she creates her own archive of visual imagery. She mediates her work through both hand craft and digital processes. She uses the fragmented and tactile nature of the ‘cut’ and ‘paste’ of collage to embed meaning.

She centres many of her projects through research into museum collections and archives.

• The Wallace Collection, London. As Associate Artist, Hodes
realised a solo exhibition at the Museum ‘Fragmented Images’ in 2007.
• London College of Fashion Library, archive of pattern templates. ‘Drawing Skirts’, 2008, University of Northumberland, supported by the Arts & Humanities Research Council).
• Spode Museum Trust archive of copper engravings. (‘Dressed in Pattern’, 2014-2016, supported by Arts Council England).
• Victoria Gallery & Museum Special Collections and Archives. (‘The Errant Muse’, 2019, with poet, Deryn Rees-Jones)

Hodes won the Jerwood Drawing Prize 2006. She was a selector for the ING Discerning Eye exhibition 2019

She established the research hub, Visual Arts at London College of Fashion. The aim of the Hub is to foreground the role of drawing and practice-led research. She has initiated and led on Hub projects that include;
• a collaboration with the National Gallery ‘Flight: Drawing Interpretations’. http://flightdrawinginterpretations.com
• a UAL research group, co-led with Professor Eileen Hogan
‘About Face: Concepts of Portraiture’. http://aboutfaceconceptsofportraiture.com

Grants and awards

(Figures indicate amount awarded to UAL)

  • Arts Council England, The Spode Copper Plate Archive; an exploration, £14,850.00, (2013-2014)
  • Arts and Humanities Research Council (AHRC), Collaborative Investigation into the role of the Hand Craft and Digital Processes within Creative Practice, £15,392.00, (2007-2008)

Research Outputs

Art/Design item

Conference, Symposium or Workshop item

Show/Exhibition

Teaching

Current research students

  • Maya Finkelstein Amrami, Exploring and creating social media-inspired portraiture in print and textiles, amalgamating selfie images, text and moving-image. (Lead supervisor)
  • Sarah Horton, Disrupting class and consumption: everyday decoration in fine art practice. (Norwich University of the Arts) (Joint supervisor)
  • Hormazd Narielwalla, Patterns as documents and drawings (Joint supervisor)
  • Katherine Pogson, Deep fashion: craft values as transformative tools to create new relationships with fashion artefacts, and more sustainable futures for consumers and makers in the UK. (Joint supervisor)
  • Lucy Russell, WHAT I SEE I OWN? Can fashion/media body images via the process of drawing be re-appropriated to positive effect as part of the creation of a social innovation design tool that can be accessed or shared with groups to question negative body image/s and to (Joint supervisor)

Subjects

Fine art