The Grammar of Ornament

The output for this project is a body of work consisting of 37 intricate hand cut papercuts and 37 related plates which was informed by the 1856 seminal publication Grammar of Ornament by architect and designer Owen Jones. The papercuts and ceramics correspond to, and are numbered according to each of the original thirty-seven propositions which form the ‘general principles in the arrangement of form and colour in architecture and the decorative arts.’ Each proposition provided a starting point in which the female figure appears as a protagonist serving to undermine and disrupt the rigidity of the Victorian hierarchical system as presented by Jones. The work also draws upon the ornate and richly coloured chromolithographic illustrations in the publication. The main body of work was first exhibited at jaggedart London and subsequently at New Hall Art Collection, University of Cambridge. A number of artworks were also included in Collect (Crafts Council) at Saatchi Gallery, London and formed a show (two person) at Clara Scremini Gallery, Paris. (Illustrated catalogue ISBN 978-1-903455-30-2

Inscriptions: drawing, making, thinking

‘Inscription: drawing, making, thinking’ brought together the work of David Conneam, Philip Eglin and Charlotte Hodes, it included drawings, ceramics, moving image and evidence of their working process. The exhibition was curated as part of the Jerwood Visual Arts Encounters series

Unwrapping the line

‘Unwrapping the Line’ represented drawings by five creative practitioners; C. Hodes, F. Geesin, N. Hormazd, J. Radvan, J. Shellard who are practice led researchers at London College of Fashion, University of the Arts London. What brings these researchers together is their use of themes pertinent to creative practice in a fashion design college, that is; cloth, textile, pattern blocks and the figure. In addition, each researcher in their own way has used the line as a key element, weaving the line through their imagery. The artworks on exhibition represent a range of processes available to the contemporary practitioner to make their line, from the pencil or thread, to film and digital technology. ‘Unwrapping the Line’ initiated and curated by Charlotte Hodes, Reader in FIne Art at London College of Fashion with the support of Professor Stephen Farthing Director for Drawing Out conference RMIT University and Stephen Gallagher, Curator, School of Art Galleries, RMIT

Spare the rod, spoil the child? : A literature review of outcomes of physical punishment in relation to recent changes to Maltese Law

A literature review of outcomes of physical punishment in children confirms the polarised views resulting from various studies. This is mainly attributed to the limitations in the methodology and study designs used, confounding factors that were unaccounted for and the different ways in which physical punishment was defined by researchers. Researchers that provide evidence to discourage the use of physical punishment highlight the risk that this mode of discipline can easily cross over to physical abuse. This is challenged by other researchers who argue that alternative disciplinary techniques investigated with similar analyses to physical punishment have similar outcomes. Malta recently became one of the 39 countries worldwide that outlawed the use of physical punishment in children, in keeping with the United Nations Convention of the Rights of the Child. The focus of legally banning the use of physical punishment is not to increase the number of parental prosecutions but to safeguard children and adopt a policy of zero tolerance towards any violence against them. Our role as health professionals should be in supporting and educating parents, including those from a different cultural background, in becoming authoritative parents that are able to discipline their children in an effective and nurturing manner, away from using any form of violence. Successful evidence based parental intervention programmes exist that may help provide these necessary skills. Health professionals should also adopt a child centred approach whereby the child’s views are considered and any allegation made taken seriously. Training in safeguarding children is recommended for all professionals who come into contact with children and families.peer-reviewe

Educational Rights of Homeless Children: Creating a Model Program in Illinois

The lack of affordable, permanent housing forces many families to move frequently and results in many children changing schools repeatedly. Such mobility has a devastating impact on the educational opportunities of children experiencing a housing crisis

Is Housing a Human Right?

A CCH policy brief that examines whether housing should be understood as a human right and argues that the right to adequate housing is recognized as a basic and fundamental human right in many sources of international human rights law

Remember Me: Charlotte Hodes Papercuts and Ceramics

This exhibition was a further iteration of Hodes'solo exhibition, of the same name, that took place at Wolverhampton Art Gallery in 2017. It profiled her long-standing engagement with the boundaries between fine art and craft practice. The work on exhibition consisted of two ceramics installations; ‘Remember Me’ commissioned by and first shown at Wolverhampton Art Gallery in 2017 and ‘Spode Trees and Silhouettes’ commissioned by and first shown at the British Ceramic Biennial in 2015. These ceramic installations, made up of multiple pieces of ready-made tableware represent an alternative ‘canvas’ that reference domesticity and the home. These ideas are further developed through a new sequence of papercuts, ‘Caryatids’ (2018) and paintings which incorporate ceramic plates.The exhibition revealed the way in which Hodes draws from both the rich iconography of the decorative arts and her own hand drawn archive of motifs centred on the female figure. Her woman, depicted as a silhouette, disrupts her given role as a decorative and fragile feature. Hodes ideas are embedded within the collage process through which she challenges accepted hierarchical structures and disrupts notions of quiet female domesticity