Keywords
Installation
Paper-cuts
How to Cite
Abstract
This paper considers the collaged paper-cuts and ceramic installations of Charlotte Hodes. Over many years she has developed a methodology centred on collage in which she has manufactured her own material in order to assemble a palette of patterns and other references in order to work on both large-scale paper cuts or using silkscreened printed ceramic transfers to cut in order to decorate manufactured ceramic ware for her installations. Referencing Paula Rego, Nancy Spero and Henri Matisse, Hodes has forsaken the traditional use of the brush on oil on canvas for, in her case of the scalpel blade as a drawing tool. The paper also considers the manner in which her imagery and attitude drive this practice, challenging a number of presumptions about the relationship of fine art to craft.
References
Auther, Elissa., (2004) The Decorative, Abstraction, and the Hierarchy of Art and Craft in the Art Criticism of Clement Greenberg, Oxford Art Journal, Vol 27, No. 3, pp. 341-64.
Berg, T., (2019 Nancy Spero Arts of Rebellion Göttingen: Edition Folkwang/Steidl.
Elderfield, J., (1978) The Cut-Outs of Henri Mattise. London: Thames & Hudson
Gooding, M., (2007) Charlotte Hodes Fragmented Images London; Wallace Collection.
Jones, A., (2019) After the Taking of Tea and other works Ruthin: Ruthin Craft Centre.
McKenzie, J., (2014) Charlotte Hodes Interview Studio International
https://www.studiointernational.com/index.php/charlotte-hodes- interview-painter-female-form-grammar-ornament (accessed 28/02/2022)
Negrin, L., (2006), Ornament and the Feminine, Feminist Theory, Vol. 7, No. 2, pp. 219-235
Westley, H., (2020-21) Hard line, soft focus ?: A discussion of the craft in the art of Charlotte Hodes. MAI: Feminism and Visual Culture. Issue eight, Autumn
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2022 Paul Coldwell