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.

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