Professor Charlotte Hodes
BiographyCharlotte Hodes is a painter, whose practice includes ceramics, glass, papercuts and installation.
Charlotte received an ACE grant in 2014, in collaboration with Professor Paul Scott to research the engravings in the Spode Museum Trust Archive resulting in a large tableware installation Spode Trees and Dressed Silhouettes for the British Ceramic Binennial 2015. She was awarded the first prize in the Jerwood Drawing Prize 2006.
Recent solo exhibitions include Fragmented Images, The Wallace Collection, London 2007, the culmination of two years as Associate Artist at the Museum supported by ACE 2004 & 2006 & AHRC 2005, Drawing Skirts 2008, University of Northumbria, a collaborative research project with Professor Cathy Treadaway, UWIC, supported by the AHRC 2008 and Grammar of Ornament, jaggedart, London and New Hall Art Collection, University of Cambridge 2014, an interrogation of the 1856 Owen Jones’ book of the same name.
Her work has been featured in numerous exhibitions including Glasstress Venice Biennale 2009 & 2013;Millesgården Stockholm, Sweden 2011, No.10 Downing St curated by Janice Blackburn OBE 2012, Inscription:Thinking/Drawing/Making Jerwood Space Gallery 2010 and the International Design Biennial Design Museum London 2003. Her work is also held in a number of public collections including British Council, Victoria and Albert Museum, Brighton Museum and Art Gallery and New Hall Art Collection, Cambridge.
Charlotte Hodes' research is informed by her experience as a painter and is investigated through large scale intricately hand cut papercuts, as well as ornately worked ceramic vessels, glass and more recently animation.
Her iconography is centred on the female figure within a contemporary context depicted as a silhouette juxtaposed with motifs loaded with female associated references such as the vessel and skirt. It questions the position of the female figure as represented in art history, as a decorative motif and as being inextricably linked to the domestic.
She draws upon the decorative and applied arts, often using archives and collections as a source for projects. This has included the Wallace Collection, London, the ceramic Spode Museum Trust Archive, V&A textile library and LCF library archive.
Through the process of drawing she creates her own archive of usable visual imagery which is mediated by both hand craft and digital processes. Her research addresses how the fragmented and tactile nature of the ‘cut’ and ‘paste’ of collage can embed meaning.
At LCF she established the Forum for Drawing to foreground the role of drawing and practice-led research. This was relaunched in 2016 as Visual Arts at LCF. The hub programme invites presentations by research practitioners from within LCF and beyond, and has resulted in a number of research initiatives including the practice-led research collaboration with the National Gallery Flight: Drawing Interpretations. Charlotte is also co-lead of a Communities of Practice Research Group, About Face: Concepts of Portraiture.
Grants and awards
(Figures indicate amount awarded to UAL)
- 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)
- Hodes C. After the Taking of Tea (2019)
- Hodes C, Rees-Jones D. Edward Thomas at Arras: A Response in Word and Image (2018)
- Hodes C. Remember Me: Charlotte Hodes Papercuts & Ceramics (2017)
- Hodes C. Dressed in Pattern (2015)
- Hodes C. Questions of Travel (2015)
- Hodes C, Rees-Jones D. And You, Helen (2014)
- Hodes C. Floating (2013)
Conference, Symposium or Workshop item
- Hodes C. The cut and paste of collage (2010)
- Hodes C, Treadaway C. At the cutting edge: an investigation into the role of digital print within creative practice (2009)
- Hodes C. Drawing Skirts (conference paper) (2008)
- Hodes C. Women and Pattern (2018)
- Moloney A, Hodes C. Motive/Motif: artists commemorate the Suffragettes (2018)
- Hodes C. The Grammar of Ornament (2014)
- Hodes C. Drawing and the body (2011)
- Hodes C. Closely held secrets (2010)
- Hodes C. Art Toronto (2010)
- Hodes C. 3D 2D: object and illusion in print (2010)
- Hodes C. 3D 2D: object and illusion in print: prints from The Centre for Fine Print Research, University of West of England, Bristol (2010)
- Hodes C. Vertigo 2 (2010)
- Hodes C. San Francisco fine art fair (2010)
- Hodes C. Unwrapping the line (2010)
- Hodes C. Inscriptions: drawing, making, thinking (2010)
- Hodes C. Silhouettes and filigree: ceramics and papercuts (2009)
- Hodes C. Eurydice (Glasstress 2009) (2009)
- Hodes C. Inspired by the Wallace Collection, London - ceramics and glass (2009)
- Hodes C. Sofa: the international exhibition of sculpture objects and functional art (2009)
- Hodes C. 40 artists - 80 drawings (2009)
- Hodes C. On view: works on paper (2009)
- Hodes C. When photography and drawing meet fashion (2009)
- Hodes C. Works on paper: a Christmas exhibition (2008)
- Hodes C. Committed to print: an exhibition celebrating digital art (2008)
- Hodes C. Summer exhibition (2008)
- Hodes C. Drawing skirts: solo show (2008)
- Hodes C. 'Silhouette' in Drawing Breath, Jerwood Drawing Prize (2008)
- Hodes C. Totem city (2008)
- Hodes C. Small show, huge talent (2008)
- Hodes C. Fragmented images: papercuts and ceramics (2007)
- Hodes C. Fragmented images: papercuts and ceramics (2007)
- Hodes C. Spirit of liberty (2002)
- Hodes C. Digital surface within fine art practice (2002)
- Hodes C. A dinner service (2001)
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) (Lead supervisor)
- Hormazd Narielwalla, Patterns as documents and drawings (Lead 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. (Lead supervisor)