Charlotte Hodes’s work occupies the interface between feminist thought and the history of the decorative arts. Last year, she exhibited a large body of work using paper cut and ceramic techniques to interrogate the seminal 19th-century publication The Grammar of Ornament (1856) by architect and designer Owen Jones5 and investigate the relationship between the female form in painting and the decorative arts. Three paper cuts and three ceramic vases from that series are included in the Good...
Legacy; A Reciprocal Tribute
Patricia Swannell's project at the Woodland Trust at the Queen Elizabeth Diamond Jubilee Wood, Leicestershire, opened on 26 Nove