My grandparents Celia and Philip Blairman had four children and 12 grandchildren. My cousin Charlotte is one of the granddaughters.
Charlotte Hodes (born 1959), whose mother Joan was a painter, has a long-standing engagement with the boundaries between fine art and craft practice. She brings her experience as a painter to her intricate papercuts, ornate ceramic vases and her glass work, each of which medium serve as an alternative canvas.
The female figure is Charlotte’s pivotal motif, an elusive but ever-present silhouette emerging from or blending into backdrops of pattern and vibrant colour. The women that wander through her work are nonetheless a disruptive force, ambivalent about their given role as decorative features, taking ownership of their environments.
