PROFILE

Pat’s books and wall pieces have been exhibited all over the world. In 2007 a book toured the US with  Fiberart International, During the same year she had a solo exhibition as part of the Surface Design Conference in Kansas City and was commissioned by the Cotsen collection - ‘Textile Traces’ – to make four linked books. That same year, a mixed media paper hanging was bought for the Carmelite Chapel of St Teresa of Avila in Beacon, New york state. In 2008 hung pieces and books were selected for the prestigious Holland Paper Biennale. In 2011 She had a solo exhibition at Walford Mill craft Centre in Wimborne, Dorset. In the same year she was invited to exhibit a book in the ‘Paper and Type’ exhibition at the Cheongju International Craft Biennale, Korea and also in the ‘Leaf and Bound’ book and paper exhibition at Eureka College, Illinois, for which she was awarded the ‘best in show’ prize. In 2012, she has been selected to exhibtit in the ‘Papier Global’ 2 exhibition in Deggendorf in Germany. A member of IAPMA, (International Papermakers and Paper Artists) she is currently taking part in the European touring exhibition ‘Faszination Papier’.

ABOUT PAT'S CURRENT WORK

Pat Hodsons often combine both hand and digital technology – not only on natural materials – paper, silk, but recently on synthetic non woven materials.

Current work is with transparent polyester film – books in which a page is conceived as a separate layer, with pattern design and textural contrasts of laser engraved pattern on a page able to interact with the pattern seen through subsequent layers, right through the object.

Other unique pieces - both wall hung and books - are made using natural a fusion of hand collage and digital print.

Certain landscapes - Iceland, Arizona and Provence - have become significant to her work. she uses a mixture of drawing, photography, notes and memory to record her response to places she has experienced, and several books have emerged - some unique, some collaborative, some multi media. Notably, ‘Iceland stories’ which evolved from a residency in Iceland – working alongside a poet and a sound artist.

In the books, visual and narrative stories interweave, interconnect and are continually deconstructed and recreated – emerging in new work – evolving – sometimes hidden, while fragments of image might be repeated within new sequences of visuals and books. There are glimpses of hidden stories and myths – fragmented over time - inevitably changing and being changed as they become part of  a complex layering of words, colour, texture.

It is a way of working in which the computer is exploited for its potential for unending improvisation of an idea – a continual fragmenting, deconstructing and reusing of the digital file to make new work. One image easily becomes a sequence. Consequently, each is different yet connects with the next.  Yet  screen image, is only half the story. The idea is never fully realised until image encounters tactile materials such as paper and thread. It is forced to change and evolve into something tangible - image sequence, book or panel. Even then the digital file might be deconstructed again - metamorphasising into another artwork entirely.

A vital part of the work is the visual energy between the sensual and tactile and the ‘virtual’ marks and textures drawn on computer interact with hand drawn marks and patterns; hand applied colour with digital colour. The tensions between these elements create a highly complex fusion of image and surface

BACKGROUND

Pat Hodson studied Fine Art at Liverpool College of Art and Design (1963-7) ( Now John Moors University : School of Art and Design) For a number of years she was a part time lecturer teaching Textiles, Digital imaging, and Bookarts.Currently she works Freelance, and is a tutor for the Open College of the Arts.


"My particular interest through four decades has been in the spatial and sensual qualities of colour. From the mid 1970’s my work became centred around liquid dye colour, cloth, fibre and wax resist, although there have been several changes of approach and direction. Initially my interest was in landscape, but I became increasingly involved with the interaction and interplay of line and dye colour - and began abstracting, layering and collaging ideas which evolved from the tensions, and energies which lay behind the surface of landscape.

During the early 1990’s the aim was to increase emotional and visual impact of the image using layers of transparent fluid dye – removing wax after each wash of dye. This process made me acutely aware of the subjective decisions we make when building an image – such as when to stop the series of changes. The idea that a piece is never finished, simply in a process of change was a revelation, and I began to explore it through a whole series of multi image pieces and books. At first these were entirely batik - but I was also experimenting with computer imaging – which allowed me to map ideas more quickly. However, I soon realised that print on paper lacked the tactile quality of fabric and paper, so I began to experiment with collage surfaces on which to print out the sequences of images.


I began to feel able to use media and technique freely, to work entirely in wax resist and dyes on cloth if my idea demanded it - making layered dyed images in which time is suspended, or to mix media - making multi image pieces which fuse the illusory and the tactile – a complex layering of computer drawings, collage, and wax resist printed on a substrate of silk and paper - with idea and concept hidden or revealed through interplay between translucent surface, and the layers beneath".