From the delicate nature of early wall sculptures - including Diary of
Flowers (1994), composed with hundreds of doodled paper napkins, and Changing Things (1997), made from disassembled silk flowers pinned to the wall - to the large cut - paper photographs of flowering trees, gold - leafed newspaper pages, and light - filled mirror mosaics of the past decade, Hodges» art typically begins as humble, even overlooked materials that are transformed through his
Flowers (1994), composed with hundreds of doodled paper napkins, and Changing Things (1997), made from disassembled silk
flowers pinned to the wall - to the large cut - paper photographs of flowering trees, gold - leafed newspaper pages, and light - filled mirror mosaics of the past decade, Hodges» art typically begins as humble, even overlooked materials that are transformed through his
flowers pinned to the wall - to the large cut - paper photographs of
flowering trees,
gold - leafed newspaper pages, and light - filled mirror mosaics of the past decade, Hodges» art typically begins as humble, even overlooked materials that are transformed through his touch.
In «till the stars all burn away,» a
gold - plated potato plant is
pinned to the wall by its roots, so that the prosaic plant's glided leaves hang downward, like a bundle of
flowers set to dry in an old - fashioned sachet - shop.