Pat Hodson

Pat Hodson’s artworks cross boundaries between paper, fibre art, digital print and bookarts.

In the work, sequences of image evoke glimpses of fundamental patterns - the apparent chaos of organic growth and decay - of stillness and space - of hidden narrative - stories and myths fragmented by time, which interweave, interconnect and are continually deconstructed and recreated. Fragments of image might be repeated within new sequences of visuals and books, changing and being changed as they become part of a complex layering of words, colour, texture and sound.

Each book is inevitably different; 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. Likewise, each waxed hand layered page has a unique tactile quality which defies exact reproduction.

The interaction of these two elements – the tactile page and the ‘virtual’ marks, colours and textures drawn on computer create a highly complex fusion of image and surface.

Pat’s techniques involve layering of paper tissue using cellulose paste – fusing this into a strong complex ‘substrate’ which often combines a layer of silk, fragments of scribbles, resist dyed shapes and pattern, scraps of maps, diagrams, cut shapes and thread. Over this multi layered surface is printed the digital image. This technique allows text, colour and pattern to be hidden or revealed through interplay between the waxed translucent surface and the layers beneath.

Pat’s recent work has included collaborative projects – the most recent is ‘Iceland stories’ which evolved from a residency in Iceland – working alongside a poet and a sound artist.

Pat’s books and wall pieces have been widely exhibited 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’ – for which she made four linked books. 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. During the same year she and was invited to exhibit a book in the ‘Paper and Type’ exhibition at the Cheongju International Craft Biennale, Korea. A member of IAPMA, she is currently taking part in the European touring exhibition ‘Faszination Papier’

Work is represented in several public and private Collections including Lloyd T. Cotsen collection “Textile Traces”; A wall piece in the Carmelite Chapel of St Teresa of Avila, Beacon, New York, and books in the Filac collection (International collection of Contemporary Artists Books, Marseilles)


I began as a painter, studying fine art 1963 - 68 at Liverpool College of Art (what is now the School of Fine Art in John Moors University) and my work in the 70’s was led by my interests in colour, pattern and drawing . I experimented a great deal with different media, and in particular textile printing, wax resist batik, and mixed media work using dyed paper fibre. Early ideas were rooted in landscape – not only plants but in human interventions and remains.

By the early 1990’s the techniques I was using made me acutely aware of the subjective decisions I was making when building an image. I began to make books which explored the idea of an artwork which is never finished, simply in a process of change. The books both referred to the cycle of change and transformation of the organic materials I use in my work, but also were containers to resist atmospheric change – protective cases for vulnerable colours and preservation of fibres.

Around 1997 I began to explore digital imaging – astonished at possibilities of colour on screen. I soon realised that computer imaging would allow me to map my ideas more quickly. However, I soon realised that print on paper lacked two things: the tactile quality of fabric and paper, and the intensity and emotional possibilities of colour on screen, so I began to experiment with paper and collage to make unique surfaces on which to print. Since that time I have concentrated on the idea of interaction of surface with print - experimenting with collage, and fibre – using resists on the surface, and embedding image and drawing within the layered surface. Finally the whole piece is saturated with hot wax, most of which is removed with an iron. This makes each piece translucent and reveals the inner drawing. Where I need hard covers and boxes I use a technique of encaustic collage – layering of the digital image with tissue, embedding, cutting and peeling away where I wish.