Dreaming in Technicolor is a powerful, three-dimensional ceramic piece that subverts the historical view of the female body. Inspired by images where women were portrayed anonymously and objectified, Alex Hodge recontextualizes them, endowing them with narrative and autonomy. The work depicts a woman in a reflective and relaxed pose, seated in a blue armchair within a room richly decorated with botanical patterns, a lit lamp, and bookshelves. This sculptural wall plate transcends its traditional decorative function to become a manifesto on intimacy, female thought, and the right to inhabit one's own space with dignity.
In this new series of wall sculpture plates, Behind Closed Doors, I reimagine source imagery from a book titled In Praise of the Backside. The book’s collection features women from behind, as captured most often by men, frequently untitled and anonymous. In my reinterpretation of these images, the women transcend their status as objects of line and shade, to become subjects with emotion, thought, and a place of belonging.
Discover a modern sculptural ceramic wall plate that celebrates intimacy and feminine emotion. From Behind Closed Doors series. Available at The Art Design Project, Miami Beach
Modern Ceramic Art - Dreaming in Technicolor 2023 from Behind Closed Doors
Dreaming in Technicolor, 2023
From the Behind Closed Doors series
Hand-built plate with sgraffito and collaged transfers
Dimensions: 8.25 x 8.25 x 0.25 in.
Hodge studied and graduated from the University of Georgia with a degree in Ceramics, with notable exhibitions such as Unsung Muses and Eyes That Bind, graduating summa cum laude and receiving honors such as the Outstanding Undergraduate Award. Here, clay became the conduit that allowed her to speak of her experience and, more importantly, her frustrations. Always curious to acquire more knowledge and skills, she pursued a Master of Fine Arts degree at the University of Miami. There she obtained the summer scholarship and the William Oberman Award, and graduated summa cum laude. During this time, she moved from expressions of anger to prioritizing love between women, the deep well of internal feminine landscapes and the historical exploration of women in relation to the present through ceramic material. Since then, her works have been exhibited at the Morean Arts Center, Arts Benicia and the Imurj Gallery, among others. She currently resides in rural Georgia, where she transforms her stories into sculptures that reveal what has been historically hidden.
