Alex Hoda
Sculptor Alex Hoda explores elements of the human psyche, and the forces that influence behaviour–how we look at deformity, violence, ugliness and aggression. Hoda's treatment and selection of materials intentionally prompts classical and modernist associations–the art historical connotations of each medium supersedes the legibility of the object. Marble sculptures constructed using 3D modelling are scaled up from pieces of chewed gum, and iron works from sculpted banana skins. Despite being intricately accurate to the original objects, following their transformation the sculptures themselves are at first glance unrecognisable and seemingly abstract. Hoda's writhing forms, at once suggestive and impenetrable, are sufficiently removed from their source objects to furnish them with a formal ambiguity. The tension between the high cultural legacy of his materials and the low, ephemeral nature of the subject matter facilitates a critique of our reliance on systems of classification and cross-reference to deduce meaning from the world.
He has had solo exhibitions at University of the Arts in London, Metro 5 Gallery in Melbourne and Royal British Sculpture Society in London. His work was included in group exhibitions at Museum of Modern Art Baku in Azerbaijan, Haunch of Venison in London, and Saatchi Gallery in London. Hoda's large …
Sculptor Alex Hoda explores elements of the human psyche, and the forces that influence behaviour–how we look at deformity, violence, ugliness and aggression. Hoda's treatment and selection of materials intentionally prompts classical and modernist associations–the art historical connotations of each medium supersedes the legibility of the object. Marble sculptures constructed using 3D modelling are scaled up from pieces of chewed gum, and iron works from sculpted banana skins. Despite being intricately accurate to the original objects, following their transformation the sculptures themselves are at first glance unrecognisable and seemingly abstract. Hoda's writhing forms, at once suggestive and impenetrable, are sufficiently removed from their source objects to furnish them with a formal ambiguity. The tension between the high cultural legacy of his materials and the low, ephemeral nature of the subject matter facilitates a critique of our reliance on systems of classification and cross-reference to deduce meaning from the world.
He has had solo exhibitions at University of the Arts in London, Metro 5 Gallery in Melbourne and Royal British Sculpture Society in London. His work was included in group exhibitions at Museum of Modern Art Baku in Azerbaijan, Haunch of Venison in London, and Saatchi Gallery in London. Hoda's large outdoor sculpture, Whirlwind, is installed on the grounds of the Cass Sculpture Foundation in Goodwood.
Courtesy of Edel Assanti
