https://samuelhodge.com Samuel Hodge Mon, 06 Apr 2026 00:45:28 +0000 https://samuelhodge.com en https://samuelhodge.com/Romance-Was-Born-National-Portrait-Gallery Mon, 06 Apr 2026 00:45:28 +0000 Samuel Hodge https://samuelhodge.com/Romance-Was-Born-National-Portrait-Gallery HOMERomance Was Born National Portrait Gallery, Canberra <img width="5906" height="4356" width_o="5906" height_o="4356" data-src="https://freight.cargo.site/t/original/i/fd7fc161ae5ec64dde182e8092e946f6d2c92eaa9fe548967bf582904fb7a2a1/Romance_Was_Born-S_-Hodge_DSF3061.jpg" data-mid="246874419" border="0" src="https://freight.cargo.site/w/1000/i/fd7fc161ae5ec64dde182e8092e946f6d2c92eaa9fe548967bf582904fb7a2a1/Romance_Was_Born-S_-Hodge_DSF3061.jpg" /> This portrait defies the limits of a singular photographic moment. Artist Samuel Hodge, a long-time collaborator of the pair, mined his personal archive to create this dual portrait that celebrates the 20-year anniversary of the brand. Deftly combining hundreds of photographs of the designers and their collections – from candid moments to backstage preparation and official campaigns – Hodge’s portrait is both intimate and expansive. Paying tribute to the dynamism, playfulness, vitality and chaos of creative practice, each photograph amassed in this work offers us a glimpse into the world of Romance Was Born but also Plunkett and Sales as people. From afar, these image fragments appear like luminous gemstones – a nod to the splendid, riotous colour that defines Romance Was Born’s designs.Major changemakers in Australian fashion, designers Anna Plunkett and Luke Sales founded Romance Was Born in 2005. The first Australian label to be included in one of New York’s Metropolitan Museum of Art Costume Institute exhibitions, Romance Was Born have dressed high-profile people including Björk, Miley Cyrus, Caroline Kennedy and Cate Blanchett. <img width="2400" height="1168" width_o="2400" height_o="1168" data-src="https://freight.cargo.site/t/original/i/8399758974d3ebe5027da517a5ddb203cb357663640bea5db92b405571005fff/i18854.jpg" data-mid="246874773" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8399758974d3ebe5027da517a5ddb203cb357663640bea5db92b405571005fff/i18854.jpg" /><img width="1294" height="1684" width_o="1294" height_o="1684" data-src="https://freight.cargo.site/t/original/i/4fe50f7538bc93207e83e3bc0c3a1488a10fdf0dc4b08e634673f4337f0efec6/Screenshot-2026-04-06-at-1.40.02pm.png" data-mid="246878352" border="0" src="https://freight.cargo.site/w/1000/i/4fe50f7538bc93207e83e3bc0c3a1488a10fdf0dc4b08e634673f4337f0efec6/Screenshot-2026-04-06-at-1.40.02pm.png" /> <img width="2456" height="1588" width_o="2456" height_o="1588" data-src="https://freight.cargo.site/t/original/i/989d05c550db519486e0d8234356b1692ae84b499e6c5441ee1c429bb2567851/Screenshot-2026-04-06-at-1.39.16pm.png" data-mid="246878349" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/989d05c550db519486e0d8234356b1692ae84b499e6c5441ee1c429bb2567851/Screenshot-2026-04-06-at-1.39.16pm.png" /> <img width="2464" height="1578" width_o="2464" height_o="1578" data-src="https://freight.cargo.site/t/original/i/c94800dd46cdc526ab3d19b98f294de97b44d6977142c6d094cea0517e1117db/Screenshot-2026-04-06-at-1.39.29pm.png" data-mid="246878350" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c94800dd46cdc526ab3d19b98f294de97b44d6977142c6d094cea0517e1117db/Screenshot-2026-04-06-at-1.39.29pm.png" /> <img width="1296" height="1678" width_o="1296" height_o="1678" data-src="https://freight.cargo.site/t/original/i/0cc2ba33ac1f51c1573fa87e84001c790ee14c92907b8b2a2c550e90ab2f5abd/Screenshot-2026-04-06-at-1.39.48pm.png" data-mid="246878351" border="0" src="https://freight.cargo.site/w/1000/i/0cc2ba33ac1f51c1573fa87e84001c790ee14c92907b8b2a2c550e90ab2f5abd/Screenshot-2026-04-06-at-1.39.48pm.png" /> Commissioned with funds provided by Hayley Baillie 2025© National Portrait Gallery of Australia. photographic installation, collaged pigment prints, wallpaper (overall: 195.3 cm&nbsp;x&nbsp;460.0 cm&nbsp;depth 5.9 cm) https://samuelhodge.com/home-page Tue, 12 Oct 2021 21:10:47 +0000 Samuel Hodge https://samuelhodge.com/home-page 01 Cassandra Bird Gallery: Milk, Vodka, Shampoo, and Honey 02 National Portrait Gallery:&nbsp; Romance Was Born 03 UNSW Galleries: The Wit of the Staircase 04 The Imponderable Archive&nbsp; 05 Nicholas Projects: The Fossickers Way 06 Skate or Die 07 Casula Powerhouse: Flight&nbsp; 08 Art Space Sydney: The Public Body 2.0 09 Art Space Auckland:&nbsp;For Collective UnconsciousSelected Press &amp; Articles Books BioContact https://samuelhodge.com/01-Milk-Vodka-Shampoo-and-Honey Tue, 31 Mar 2026 00:52:37 +0000 Samuel Hodge https://samuelhodge.com/01-Milk-Vodka-Shampoo-and-Honey HOME Cassandra Bird Gallery Milk, Vodka, Shampoo, and Honey28 March - 25 April, 2026 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="3200" height="4000" width_o="3200" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fbebcc42c5e1abf731b2e7887ab60c11bc1e79d30554dd9aaed023cc3651af79/samuel-hodge_mvsh_030_small.jpg" data-mid="246703941" border="0" src="https://freight.cargo.site/w/1000/i/fbebcc42c5e1abf731b2e7887ab60c11bc1e79d30554dd9aaed023cc3651af79/samuel-hodge_mvsh_030_small.jpg" /> <img width="4000" height="3200" width_o="4000" height_o="3200" 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height_o="2667" data-src="https://freight.cargo.site/t/original/i/06bfb328e1833e71696414484b73f253f79709bd327ead93d9a7c3e1a9c1199c/samuel-hodge_mvsh_037_small.jpg" data-mid="246703947" border="0" src="https://freight.cargo.site/w/1000/i/06bfb328e1833e71696414484b73f253f79709bd327ead93d9a7c3e1a9c1199c/samuel-hodge_mvsh_037_small.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/0d7c5c30fb5d135292a0fd298ca0e2684fe6e6bfcfc487fc8c0cc4858faab833/samuel-hodge_mvsh_038_small.jpg" data-mid="246703948" border="0" src="https://freight.cargo.site/w/1000/i/0d7c5c30fb5d135292a0fd298ca0e2684fe6e6bfcfc487fc8c0cc4858faab833/samuel-hodge_mvsh_038_small.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/ec8fc93934d07a21749110c5f847df213a0b63c428f0055c47eb6c8e043a1fc6/samuel-hodge_mvsh_036_small.jpg" data-mid="246703946" border="0" src="https://freight.cargo.site/w/1000/i/ec8fc93934d07a21749110c5f847df213a0b63c428f0055c47eb6c8e043a1fc6/samuel-hodge_mvsh_036_small.jpg" /> photo credits:&nbsp;Laura Moore https://samuelhodge.com/01-The-Wit-of-the-Staircase Tue, 12 Oct 2021 21:44:06 +0000 Samuel Hodge https://samuelhodge.com/01-The-Wit-of-the-Staircase HOME&nbsp; The Wit of the Staircase UNSW Galleries 21 March - 18 April, 2020 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/1417e3ed9d464313c418d9e3598585056eea68fa5baa9a56338d1d097f6b3b3d/Samuel_Hodges-UNSW-March-2020-12.jpg" data-mid="121449184" border="0" src="https://freight.cargo.site/w/1000/i/1417e3ed9d464313c418d9e3598585056eea68fa5baa9a56338d1d097f6b3b3d/Samuel_Hodges-UNSW-March-2020-12.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9ef64b5c075f7c6eaf9fff486813f26715c0f1d3d5713876b1ca03f46ed53bd6/Samuel_Hodges-UNSW-March-2020-10.jpg" data-mid="121449550" border="0" src="https://freight.cargo.site/w/1000/i/9ef64b5c075f7c6eaf9fff486813f26715c0f1d3d5713876b1ca03f46ed53bd6/Samuel_Hodges-UNSW-March-2020-10.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/dffe454955b48eeed41c19052475fb1b5ce3ce94639cbaba9689386d17cf8adc/Samuel_Hodges-UNSW-March-2020-34.jpg" data-mid="121449548" border="0" src="https://freight.cargo.site/w/1000/i/dffe454955b48eeed41c19052475fb1b5ce3ce94639cbaba9689386d17cf8adc/Samuel_Hodges-UNSW-March-2020-34.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/8c56db8c988a7d45f065404fd1b80ff6dd9a5fe68e4d8c1a83d08fb0fec9b0d1/Samuel_Hodges-UNSW-March-2020-25.jpg" data-mid="121449547" border="0" src="https://freight.cargo.site/w/1000/i/8c56db8c988a7d45f065404fd1b80ff6dd9a5fe68e4d8c1a83d08fb0fec9b0d1/Samuel_Hodges-UNSW-March-2020-25.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/ed06ce06c7c03dea008f90acf936588cd6d882d79c6087ad660745ec4aa1893d/Samuel_Hodges-UNSW-March-2020-19.jpg" data-mid="121449546" border="0" src="https://freight.cargo.site/w/1000/i/ed06ce06c7c03dea008f90acf936588cd6d882d79c6087ad660745ec4aa1893d/Samuel_Hodges-UNSW-March-2020-19.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/81f144667a8f2ed81fa0743008d87b48c296a7aea7ef7de4ae37631cbc06cdcc/Samuel_Hodges-UNSW-March-2020-15.jpg" data-mid="121449543" border="0" 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data-src="https://freight.cargo.site/t/original/i/eee24d90c1f9ff85f5fc008fdecb9f08738e5e525765b982ae018222ee6c9df1/Samuel_Hodges-UNSW-March-2020-16.jpg" data-mid="121449540" border="0" src="https://freight.cargo.site/w/1000/i/eee24d90c1f9ff85f5fc008fdecb9f08738e5e525765b982ae018222ee6c9df1/Samuel_Hodges-UNSW-March-2020-16.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/b2146fd9d6c554e061c0ed7b729571201bde65275833185551927e3cdfa34213/Samuel_Hodges-UNSW-March-2020-18.jpg" data-mid="121449524" border="0" src="https://freight.cargo.site/w/1000/i/b2146fd9d6c554e061c0ed7b729571201bde65275833185551927e3cdfa34213/Samuel_Hodges-UNSW-March-2020-18.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f341dd223af35902f52f7291aca16934ca548eea3cc645c780757dd1696f4c44/Samuel_Hodges-UNSW-March-2020-24.jpg" data-mid="121449511" border="0" 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data-src="https://freight.cargo.site/t/original/i/d56b4128a4e8387a7a65fca7b5d6b0734850e9ff76a931310e5f49ad73c7419f/Samuel_Hodges-UNSW-March-2020-29.jpg" data-mid="121449463" border="0" src="https://freight.cargo.site/w/1000/i/d56b4128a4e8387a7a65fca7b5d6b0734850e9ff76a931310e5f49ad73c7419f/Samuel_Hodges-UNSW-March-2020-29.jpg" /> <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/7873bf549f22f90481fcb277a46fa49050ecac67196ad7a9eb6dd43dff2ef4da/Samuel_Hodges-UNSW-March-2020-33.jpg" data-mid="121449462" border="0" src="https://freight.cargo.site/w/1000/i/7873bf549f22f90481fcb277a46fa49050ecac67196ad7a9eb6dd43dff2ef4da/Samuel_Hodges-UNSW-March-2020-33.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/1a38ccb035410bc5a004ae1402bd27ab17e6817e59d46d3dd32cbe0d4f71e21b/Samuel_Hodges-UNSW-March-2020-31.jpg" data-mid="121449450" border="0" src="https://freight.cargo.site/w/1000/i/1a38ccb035410bc5a004ae1402bd27ab17e6817e59d46d3dd32cbe0d4f71e21b/Samuel_Hodges-UNSW-March-2020-31.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f5097093679ebfa1692509cf81421560ecb98b940bb3f2c5b8ed19285e312a71/Samuel_Hodges-UNSW-March-2020-37.jpg" data-mid="121449419" border="0" src="https://freight.cargo.site/w/1000/i/f5097093679ebfa1692509cf81421560ecb98b940bb3f2c5b8ed19285e312a71/Samuel_Hodges-UNSW-March-2020-37.jpg" /><img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/2bd9a3c766705f794fb143023acbdbd72e4fb2dc6062c2063cb31901ab12aaf5/Samuel_Hodges-UNSW-March-2020-46.jpg" data-mid="121449365" border="0" src="https://freight.cargo.site/w/1000/i/2bd9a3c766705f794fb143023acbdbd72e4fb2dc6062c2063cb31901ab12aaf5/Samuel_Hodges-UNSW-March-2020-46.jpg" /> https://samuelhodge.com/02-The-Imponderable-Archive Tue, 12 Oct 2021 21:10:48 +0000 Samuel Hodge https://samuelhodge.com/02-The-Imponderable-Archive HOME The Imponderable Archive8th January – 26th January, 2014 <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/c21c104a6ff432accefd42a362547db11412c49d3cd5e5ecbbd466ff9aa5055f/0017.SamuelHodge_Alaska_2013.jpg" data-mid="121459518" border="0" src="https://freight.cargo.site/w/1000/i/c21c104a6ff432accefd42a362547db11412c49d3cd5e5ecbbd466ff9aa5055f/0017.SamuelHodge_Alaska_2013.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/d32d5821ee5a79f5ccdc437ffc75ff8f23b5211533a811629e46627e7ca56f04/019.SamuelHodge_Alaska_2013.jpg" data-mid="121459523" border="0" src="https://freight.cargo.site/w/1000/i/d32d5821ee5a79f5ccdc437ffc75ff8f23b5211533a811629e46627e7ca56f04/019.SamuelHodge_Alaska_2013.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/923fc20fca5cd48069f19161d3a86c946a3505a8fd8e198e528336344c354701/018.SamuelHodge_Alaska_2013.jpg" data-mid="121459519" border="0" src="https://freight.cargo.site/w/1000/i/923fc20fca5cd48069f19161d3a86c946a3505a8fd8e198e528336344c354701/018.SamuelHodge_Alaska_2013.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/1ff009e5ea0dfa6fc08be7349d2784a4ca780983055f6b606a0cec67ad99aadc/012.SamuelHodge_Alaska_2013.jpg" data-mid="121459516" border="0" src="https://freight.cargo.site/w/1000/i/1ff009e5ea0dfa6fc08be7349d2784a4ca780983055f6b606a0cec67ad99aadc/012.SamuelHodge_Alaska_2013.jpg" /> Samuel Hodge The Imponderable Archive If an imponderable problem is one that cannot undergo precise evaluation, an imponderable archive might be one whose documents or whose data cannot be ascertained with precision, clarity or certainty. The pairing of terms suggests an ordered collection but one in which there are barriers to full comprehension. Something has gone awry in the collection, its retrieval, or gleaning. It’s as though a historically accurate story has suddenly been made into an opaque narrative or an absurdist joke. Samuel Hodge’s Imponderable Archive consists of images appropriated from dating websites and re-shot in the artist’s studio/ apartment. The process of making begins with Hodge trawling the image mass contained in web-based archives:&nbsp; the collection of selfies, vanity shots and stand-ins, published by individuals on digital dating sites in order to ‘represent’ their publishers. From this mass few are selected by the artist because few resound for him. Of the gleaned images that have been re-photographed for the exhibition Hodge can speak to intuitive selections based of the image’s power and more frequently their absurdity. In the movement from these carefully chosen sometimes already appropriated and doctored ‘originals’, to the photographs that feature in the Imponderable Archive, a translation has taken place. Lifted from their original context the works have been re-shot and re-constructed via the language of fashion photography. As with all translations there are losses and there are gains. In the photograph Untitled(2013), a young man sits on a couch with three women whose faces are conspicuously erased by voided blocks. Evidence of blatant erasure (rather than the cropping out) of accompanying women is common to many gay dating profile pics. The capturing of sitters in a domestic setting is also unremarkable, vernacular. The conspicuous deviations in Hodges shot are the qualities of light, the model sitters and fashion garments the sitters are draped in. The effect of these add-ons is curious. We are left with an image that is as seductive as it is ridiculous and unreasonable. Similarly, in Dumb and Dumber(2013) two young men face the camera sporting hand drawn masks. While the reference images were mug shots featuring real individuals who employed black permanent marker to their faces (in an attempt to disguise their identities) Hodges photograph features two male models whose facial markings have been made by Chanel cosmetics. Like all the works in the exhibition, these photographs demonstrate an unexpected equation where absurdity plus glamour equals more absurdity. The presence of beauty does nothing to undermine the illogical nature of the scene to which it is enlisted. Its effectiveness is in its incongruity. In the images Crutches (2013) and No Guts No Glory Hole (2014), it is erotica that is re-cast. Where Crutches&nbsp;seems to simultaneously beautify and mock a fetish for men on crutches, No Guts No Glory Hole applies a similar sentiment to an 80’s porn still, re-shot here with the artist’s assistant and Australian actor Murray Bartlett (of Sex and City, Looking&nbsp;and recent series The White Lotus). The figures of No Guts are shown gazing with great seriousness through an obviously staged and severely exaggerated glory hole. In these works, as elsewhere in the exhibition, images chosen for their ability to represent and stand in for an individual and their desires are re-configured in a manner which questions their ability to do anything of the sort. Hodges collision of fashion photography and vernacular forms does not exalt or ennoble either language, either content. An absurd humour infects both and makes the photographs silly and strange even where they are compelling and seductive, and ambiguous even where they are precisely chosen or constructed. That they can be all of these things simultaneously (and incongruously) is an imponderable problem of the image. It is to this quality of images that Hodge’s archive speaks. Natalya Hughes https://samuelhodge.com/03-The-Fossikers-Way Tue, 12 Oct 2021 21:10:48 +0000 Samuel Hodge https://samuelhodge.com/03-The-Fossikers-Way HOME Nicholas Projects The Fossickers Way10th February – 25th February, 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/9eb693f1f3bf9aa43c3a86e9b91b1ba93f4ca7e02110e1d8a662d206c9bed348/HODGE-20170222-NP_DSC9272-high-res.jpg" data-mid="121464429" border="0" src="https://freight.cargo.site/w/1000/i/9eb693f1f3bf9aa43c3a86e9b91b1ba93f4ca7e02110e1d8a662d206c9bed348/HODGE-20170222-NP_DSC9272-high-res.jpg" /> <img width="705" height="743" width_o="705" height_o="743" data-src="https://freight.cargo.site/t/original/i/bbe76826eb6ec56d29775e69946b94f96c9541dd7ea9bdf9ac23a7ccd696f56e/Screenshot-2016-09-22-17.26.03.png" data-mid="121464940" border="0" src="https://freight.cargo.site/w/705/i/bbe76826eb6ec56d29775e69946b94f96c9541dd7ea9bdf9ac23a7ccd696f56e/Screenshot-2016-09-22-17.26.03.png" /> <img width="465" height="741" width_o="465" height_o="741" data-src="https://freight.cargo.site/t/original/i/4cd2f16eba57dd187a75ce3ee3301199432372fb80244908d6af99b7ba769d71/Screenshot-2016-09-22-17.25.38.png" data-mid="121464937" border="0" src="https://freight.cargo.site/w/465/i/4cd2f16eba57dd187a75ce3ee3301199432372fb80244908d6af99b7ba769d71/Screenshot-2016-09-22-17.25.38.png" /> <img width="4912" height="7360" width_o="4912" height_o="7360" data-src="https://freight.cargo.site/t/original/i/c66a1a51128d53566bec4cbef92ac66e6d2f75d1c6e5842cb9a3d980386b7767/HODGE-20170222-NP_DSC9298-high-res.jpg" data-mid="121464442" border="0" src="https://freight.cargo.site/w/1000/i/c66a1a51128d53566bec4cbef92ac66e6d2f75d1c6e5842cb9a3d980386b7767/HODGE-20170222-NP_DSC9298-high-res.jpg" /> <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/8ab9d5f314cfcd3227a7c1c3a7da7a65a74d6f8adf637cb9fda3842c77676e0d/HODGE-20170222-NP_DSC9289-high-res.jpg" data-mid="121464438" border="0" src="https://freight.cargo.site/w/1000/i/8ab9d5f314cfcd3227a7c1c3a7da7a65a74d6f8adf637cb9fda3842c77676e0d/HODGE-20170222-NP_DSC9289-high-res.jpg" /> <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/198c70b35f864250a2ba9ae35a4de2c5f2c23e326f25dd67dad866805ee24e30/HODGE-20170222-NP_DSC9274-high-res.jpg" data-mid="121464430" border="0" src="https://freight.cargo.site/w/1000/i/198c70b35f864250a2ba9ae35a4de2c5f2c23e326f25dd67dad866805ee24e30/HODGE-20170222-NP_DSC9274-high-res.jpg" />The Fossickers’ Way is a new body of work continuing Hodge’s examination of image construction, authenticity and narrative illusiveness. Here, claimed images are re-formed, composited into what the artist refers to as 'stand-ins for flags or banners' and presented alongside sculptural and sound works which oscillate around a rejection of the commodification of queer signifiers; fragments of identities and histories sit beside mis-formed remains, a requiem sounds. https://samuelhodge.com/Skate-or-Die Sun, 21 Jun 2020 04:35:37 +0000 Samuel Hodge https://samuelhodge.com/Skate-or-Die HOME Skate or Die!January 14 - February 10, 2015 <img width="1263" height="1895" width_o="1263" height_o="1895" data-src="https://freight.cargo.site/t/original/i/5939155aef05ecfaba56df0b22ed65eb176d6a8e0ba70334718cc2c654f285d2/01-Skate.jpg" data-mid="121856842" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/5939155aef05ecfaba56df0b22ed65eb176d6a8e0ba70334718cc2c654f285d2/01-Skate.jpg" /> <img width="1263" height="1895" width_o="1263" height_o="1895" data-src="https://freight.cargo.site/t/original/i/1b6f3e168e857dc2cc0d0958c7015d5e00b2f057a0ce6b966be3c87b0c61121d/02-or.jpg" data-mid="121856843" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/1b6f3e168e857dc2cc0d0958c7015d5e00b2f057a0ce6b966be3c87b0c61121d/02-or.jpg" /> <img width="1263" height="1895" width_o="1263" height_o="1895" data-src="https://freight.cargo.site/t/original/i/967d89652cbcd034bba79e9aad9ef1e63bfc097a25a105b6116ec5adf0fdad61/03-Die.jpg" data-mid="121856990" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/967d89652cbcd034bba79e9aad9ef1e63bfc097a25a105b6116ec5adf0fdad61/03-Die.jpg" /> -------- Inspired by David Wojnarowicz, Australian artist Samuel Hodge moulds his own – at times, painful – autobiography out of clay, beading and photography When the artist David Wojnarowicz died from AIDS in New York in 1992, his Magic Box — an Indian River Citrus crate containing about eighty items, from stones and beads to a toy watch to a monkey skull painted International Klein Blue — was found under his bed. This box, about which few knew and Wojnarowicz wrote little, is now held at the Fales Library and Special Collections at NYU, which the artist Samuel Hodge&nbsp;visited for the first time this summer. Like Wojnarowicz, Hodge works with autobiography. His work is funny, sad, silly, profound, literal or sly, depending on who’s looking and when. Hodge is known for photography but says that clay, which he uses for the first time in his current show, Skate or Die, is a particularly potent medium in this regard: it is, in Hodge’s words, “wet forever”; never ossified, endlessly malleable. ‘Skate or Die’ is as personal as Hodge’s childhood in Glen Innes, a town in rural Australia — looking in on heterosexuality, making his own action figures — and as universal as stratifications of culture, sexuality and privilege. Wojnarowicz is only one of these currents. But still, it’s hard not to think about the inscrutable Magic Box — because what is an autobiography but a bunch of totemic memory-objects, sum significance shifting and cryptic even to its owner, perpetually shuffled and reshuffled according to who’s looking and when? This show brings together a lot of different threads, all interconnected; your childhood in rural Australia, exclusion from straight subcultures, your visit to the David Wojnarowicz archives at NYU. But let’s start with the title, Skate or Die... Samuel Hodge: I wanted to skate so much as a kid and I knew everything about skate culture but I could never really fit in. A few years ago, a friend said to me that being a white straight Australian man is just, like, the best thing ever. They never have to worry about anything, they’re always having such a good time [laughs]. They’re all on sweet street. I’m not sure how true that is, but I was thinking about that again recently when I saw some guy wearing a Skate or Die t-shirt. When you think about it, the meaning is actually quite intense; it’s this bravado thing that’s really straight. The photos of the boys behind the words [in the titular work] are inspired by these images of snowball fights from, I think, Princeton University from 1910 or 1913, where they would take portraits of themselves after they’d beat the shit out of each other. They’d show off these massive bruises and cuts with pride, but that’s something that straight men have the freedom to do. They get to be proud of their bruises and black eyes as if it’s a badge of honour. You see a straight guy walking down the street with a black eye and it’s like, “Oh, he got into a good punch up.” But if it’s a gay guy or a woman… It’s associated with victimhood... Samuel Hodge: Yeah. People get defensive about which culture belongs to who. Also, “skate or die” is a pretty dumb term. I spoke to a gay skater recently who was like, “Oh, that’s a pretty old one; there are new terms now.” Some other skater had asked him, “Why are you so defensive all the time?” And he was like, “You don’t know what it’s like to have to constantly explain your position within a particular scene.” And this is one of the places where David Wojnarowicz comes in. Toward the end of his life especially, he became quite vitriolic. Close to the Knives&nbsp;is a great book and also an incredibly angry one... Samuel Hodge: He’d just gotten to a point where it was enough. You get to a point where you’re tired of having to smile and nod through bullshit. What I like about David Wojnarowicz is that he taught himself. He never studied, but also had that insecurity, which I relate to, about not studying and wanting to have the access that people who have studied have. In his diaries he writes about talking to his friends about wanting to have access to universities in France to be with his boyfriend but not being able to get a visa. But he just kept making his work anyway. One of the works in the show is called “I Want To Farm That Blow Boy”; that was written in one of David Wojnarowicz’s notebooks in the archives, just on the back of&nbsp;a page. <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/598d056c981f2d61c72937552162d98b00d213fc01d6d9b18244b752874f1628/samuel-hodge-farm-that-blowboy-02.jpg" data-mid="121857227" border="0" src="https://freight.cargo.site/w/960/i/598d056c981f2d61c72937552162d98b00d213fc01d6d9b18244b752874f1628/samuel-hodge-farm-that-blowboy-02.jpg" /> He was on a residency in a small rural area in 1991, I think, and he was really sick with AIDS at that point, and so the whole diary was him talking about his fear of death, over and over and over again, and then there was just this funny little line written on the back, all by itself. Going through his diaries I could see that that was his practice, in a lot of ways: taking notes and writing. Someone bought that work who used to live in New York in the 80s, and his friend was a really good friend of David Wojnarowicz. He bought the work as a present for his friend, to take back to New York. This is the first time you’ve used clay for a show, or made work that is more sculptural than purely photographic. Can you tell me about this? Samuel Hodge: I started practicing with clay about five years ago and I made some pieces but they didn’t work so I just put them aside. I recently found out that with paintings by the old masters, the canvas degrades but the oil paint doesn’t so conservationists can literally peel off the painting and put it on to a new canvas. It’s sculptural, ultimately. When I found that out I was so inspired. I started working in a studio, and started looking for other ways to interpret the clay. It’s what I always used as a kid; it was how I could make toys that kind of looked like other toys, because we were too poor to get the real toys so I’d make my own. <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f3ffe49225b8d40084a00a2becba944bce800c9df2dd4fca65da01facbe2d9f7/samuel-hodge-clay.jpg" data-mid="121857244" border="0" data-scale="85" src="https://freight.cargo.site/w/960/i/f3ffe49225b8d40084a00a2becba944bce800c9df2dd4fca65da01facbe2d9f7/samuel-hodge-clay.jpg" /> <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/bf7697ae83d481e8f3171de7ae3353ab8018d62b20093cb5f34daba4268d1247/samuel-hodge-clay-01.jpg" data-mid="121857243" border="0" data-scale="85" src="https://freight.cargo.site/w/960/i/bf7697ae83d481e8f3171de7ae3353ab8018d62b20093cb5f34daba4268d1247/samuel-hodge-clay-01.jpg" /> I would make my own Teenage Mutant Ninja Turtles and take them to school, then go home and roll them out and make them again, and they would always get so squashed and dirty. The clay I’m using is that same kids’ modeling clay. That hanging installation took a lot of practice to get it to not break. The day before the show I remade everything. All the words are remade about four times from the same word. I would make the word and remake it again and again until it changed font and changed style and all the clay marbled. The good thing about clay is that if it gets dirty you can just roll it out and it sort of cleans itself in this weird way. The dirt gets hidden and then it’s clean again. That’s an evocative metaphor... Samuel Hodge: It’s a bit dangerous because it’s borderline first year university stuff, working with these ideas. But they’re ideas I’ve never focused on before and I feel in a safe space to work on something like this without making it sentimental; to have a distance to understand it and to understand the beauty of the situation. I’m not making art therapy; I’m more interested in these things from a distance, minus the sentimentality or the emotion. I’ve really looked back to things I didn’t get to complete, in a way. When I was making these things as a kid I was so obsessed with clay as a medium, like most kids, but then you’re kind of forced to put it aside and move on to more sophisticated things. I think the work I can do now involves being able to look at stuff that happened a long time ago, realising that it is interesting and it is strange in the sociological sense. Maybe it’s more anthropological: groups of people, exclusion, all that stuff is really intriguing to me. So much of the show concerns subjects that are generally considered to be very serious and painful — gay bashing, cultural exclusion — &nbsp;but the work frames these subjects in funny and often absurd ways... <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/9fcfe82e5c92f020f479a1e7cca4343e755278af1e12bcff81ee117f91917c6b/samuel-hodge-07.jpg" data-mid="121857106" border="0" src="https://freight.cargo.site/w/960/i/9fcfe82e5c92f020f479a1e7cca4343e755278af1e12bcff81ee117f91917c6b/samuel-hodge-07.jpg" /> Samuel Hodge: I’m trying to think why. It’s kind of been a natural progression, and I think that’s also my sense of humour. I suppose I can quite easily place those [subjects] in that space. The humour is probably the most personal thing. When I was going through the Wojnarowicz archives at NYU, I found this letter from the Bowery Bank from 1980 or 1981 and I thought it was kind of strange. I opened it up and it had all of the paraphernalia for applying for life insurance — everything, even the return address envelope, nothing had been thrown out. And there was this letter that said, “Dear Marcel Duchamp, thank you for your interest in life insurance with the Bowery Bank.” I just loved that David Wojnarowicz <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/9fcfe82e5c92f020f479a1e7cca4343e755278af1e12bcff81ee117f91917c6b/samuel-hodge-07.jpg" data-mid="121857106" border="0" src="https://freight.cargo.site/w/960/i/9fcfe82e5c92f020f479a1e7cca4343e755278af1e12bcff81ee117f91917c6b/samuel-hodge-07.jpg" />was going into banks for fun and signing up Marcel Duchamp for life insurance. I think the themes translate in different ways, as well; I don’t really want to keep bringing up the gay-straight divide, but the “Dedicated Top” and “Spiritual Bottom” bead works got purchased by two straight women. One of the women said she interpreted “Spiritual Bottom” as a person who has reached their spiritual bottom in life, which I thought was so beautiful and totally relevant. When the title of your Grindr profile is “Spiritual Bottom” then maybe you have kind of bottomed out spiritually [laughs]. Amelia Stein <img width="1716" height="2244" width_o="1716" height_o="2244" data-src="https://freight.cargo.site/t/original/i/62c501fadfa3cda4950d8d1b652bca01bbe1ba2883deaa1172ed643a30b27cdd/IMG_2298-copy.jpg" data-mid="121857079" border="0" src="https://freight.cargo.site/w/1000/i/62c501fadfa3cda4950d8d1b652bca01bbe1ba2883deaa1172ed643a30b27cdd/IMG_2298-copy.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f3ffe49225b8d40084a00a2becba944bce800c9df2dd4fca65da01facbe2d9f7/samuel-hodge-clay.jpg" data-mid="121857244" border="0" src="https://freight.cargo.site/w/960/i/f3ffe49225b8d40084a00a2becba944bce800c9df2dd4fca65da01facbe2d9f7/samuel-hodge-clay.jpg" /> https://samuelhodge.com/06-Flight Wed, 15 Nov 2023 21:57:16 +0000 Samuel Hodge https://samuelhodge.com/06-Flight HOME&nbsp; Casula Powerhouse FLIGHT 21 January, 2023 - 11 June, 2023 <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ed9d4a907a1cd3261c439d417bfe4b59ace1cd6d908621460fe8254d352bb2ab/Casula-Powerhouse-Install_Feb-23-web-26.jpg" data-mid="196987686" border="0" src="https://freight.cargo.site/w/1000/i/ed9d4a907a1cd3261c439d417bfe4b59ace1cd6d908621460fe8254d352bb2ab/Casula-Powerhouse-Install_Feb-23-web-26.jpg" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f26d7b2459a6b8524beab06179e6125c05e38ef557ba9e22897d2b89dd5561a6/Casula-Powerhouse-Install_Feb-23-web-27.jpg" data-mid="196987688" border="0" src="https://freight.cargo.site/w/1000/i/f26d7b2459a6b8524beab06179e6125c05e38ef557ba9e22897d2b89dd5561a6/Casula-Powerhouse-Install_Feb-23-web-27.jpg" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d4b3bdea2a7ee43e0d20d71fb9a7c96dd3cab4e2858bb4a14f5adea54376dbb0/Casula-Powerhouse-Install_Feb-23-web-28.jpg" data-mid="196987690" border="0" src="https://freight.cargo.site/w/1000/i/d4b3bdea2a7ee43e0d20d71fb9a7c96dd3cab4e2858bb4a14f5adea54376dbb0/Casula-Powerhouse-Install_Feb-23-web-28.jpg" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c4db9abc38738a025aba9b12abe3b2dda0bb0876ae72d00075e7f87c9bd6747c/Casula-Powerhouse-Install_Feb-23-web-29.jpg" data-mid="196987691" border="0" src="https://freight.cargo.site/w/1000/i/c4db9abc38738a025aba9b12abe3b2dda0bb0876ae72d00075e7f87c9bd6747c/Casula-Powerhouse-Install_Feb-23-web-29.jpg" /> <img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/227ee48896ae05f8867fb94fc5a1dabbcf2a43ecfff9bd076434ea80837d7503/Casula-Powerhouse-Install_Feb-23-web-30.jpg" data-mid="196987692" border="0" src="https://freight.cargo.site/w/1000/i/227ee48896ae05f8867fb94fc5a1dabbcf2a43ecfff9bd076434ea80837d7503/Casula-Powerhouse-Install_Feb-23-web-30.jpg" /> <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/87c4e8e28bde6da060f5662a57c707cfdde0378e8e6ed66a9a97047807e5dac6/photo-output-3.JPG" data-mid="196987755" border="0" src="https://freight.cargo.site/w/1000/i/87c4e8e28bde6da060f5662a57c707cfdde0378e8e6ed66a9a97047807e5dac6/photo-output-3.JPG" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/28f3632ae75ee080f2c25a10fe63a59f1f819d5e09e0736ad80f036414c85967/Casula-Powerhouse-Install_Feb-23-web-31.jpg" data-mid="196987693" border="0" src="https://freight.cargo.site/w/1000/i/28f3632ae75ee080f2c25a10fe63a59f1f819d5e09e0736ad80f036414c85967/Casula-Powerhouse-Install_Feb-23-web-31.jpg" /> Across every artform, we will dissect, discuss and deconstruct air travel, aviation, aerodynamics and the freedoms and perils that flight promises. This six-month exploration of flight offers something for everyone. Developed in anticipation of the 2026 arrival of the Western Sydney International (Nancy-Bird Walton) and the surrounding Aerotropolis, FLIGHT is simultaneously celebratory and critical, excited about the return of flight yet concerned about its ongoing impact on the environment. This blockbuster exhibition is an opportunity to re-engage with flight in all its forms after an unprecedented break from it and to critically engage with the impact of the airport and surrounding redevelopments. Liverpool is uniquely placed to tell a flight story not only because of the Nancy Bird-Walton airport is being built in our region, but because 40 per cent of our residents are born overseas. Flight has created Liverpool too. Artists: Flight features the following artists, many producing specially commissioned artwork for the exhibition: Daniel Agdag * Isabel &amp; Alfredo Aquilizan * Linda Brescia * Rebecca Brady * Chris Caines * Gandangara Local Aboriginal Land Council* Fei Gao * Claire Grant * George Haddad * Claire Healy &amp; Sean Cordeiro * Chris Hunter * Samuel Hodge * Christelle Hug * Yvonne Koolmatrie *Ida Lawrence * Emily Kame Kngwarreye * Anna Madeleine Raupach * Amy Perejuan – Capone * Pamela Rodoreda *Matte Rochford * Talia Smith * Garry Trinh The exhibition also includes objects and artefacts loaned from Museums of Arts and Applied Sciences. https://samuelhodge.com/08-The-Public-Body Wed, 15 Nov 2023 21:44:32 +0000 Samuel Hodge https://samuelhodge.com/08-The-Public-Body HOME / BIO Artspace, Sydney THE PUBLIC BODY .02 28 July, 2017 – 2 October, 2017 Francis Alÿs, Brook Andrew, Del Kathryn Barton, Farida Batool, Vivienne Binns, Leigh Bowery, Destiny Deacon and Virginia Fraser, Christine Dean, Kelly Doley and Diana Baker Smith, Ella Dreyfus, Regina José Galindo, Amala Groom, Samuel Hodge, Geumhyung Jeong, Kate Just, Samson Kambalu, Deborah Kelly, Barbara Kruger, Radha La Bia, Pat Larter, Richard Larter, Leigh Ledare, Gary Lee, LIP, Teresa Margolles, Dani Marti, Chris Mason, Marie McMahon, Ebecho Muslimova, Eileen Myles and Jill Soloway, Rabbya Naseer and Hurmat Ul Ain, Tracey Rose, Patrick Staff, A.L. Steiner, Martine Syms, VNS Matrix, Gillian Wearing, David Wojnarowicz, William Yang, Women’s Domestic Needlework Group, Cao YuCurated by Talia Linz and Alexie Glass-Kantor<img width="1800" height="1200" src="https://freight.cargo.site/w/1800/q/94/i/3d57063880ce939a62a5b44aeabb1b3dbebedeaa94905266440126b6635d2163/ThePublicBody-131.jpg" style="width: 823.498px; height: 548.999px;"><img width="1800" height="1200" src="https://freight.cargo.site/w/1800/q/94/i/67cebf4b8a2eba45f0247adb17d1a6d5453b366f99cc97cca8bf6327b1242d94/ThePublicBody-122.jpg" style="width: 823.498px; height: 548.999px;"> The second exhibition in a three-part speculation on one idea, this year THE PUBLIC BODY .02 brings together the work of over forty artists and collectives from the 1970s to the present, integrating the archival and the contemporary to draw connections between works across decades.Extending on THE PUBLIC BODY .01’s exploration of contemporary representations of the body and, in particular, the naked and/or sexualised body, the second iteration delves further back to highlight a range of practices embedded in feminist, queer and anti-racist subjectivities. The exhibition includes new works alongside key contributions from renowned artists whose practices have been central to contemporary art’s consideration of the body as agent and instrument.In THE PUBLIC BODY .02 bodies are displaced, contaminated, insatiable and vulnerable; attempting to function within the constraints of the flesh and challenging its limits through a performative refrain. Bodies are both witnessed and witnessing. Some take refuge in the safety and power of distinct communities and networks, while others struggle to free themselves from the dictates of systems that reduce and subjugate.The public body underscored is not a linear and knowable entity, but rather consciously fractured, complex and multifarious. It’s wild and perverse, uncertain and unstable. The exhibition is deliberately troubled and thorny, juxtaposing a range of divergent works from emerging to deceased artists not previously exhibited together. An open, porous architectural structure has been deployed as a means of inviting connectivity throughout, encouraging a textured conversation and fluidity of ideas. In addition, a selection of manifestos billposted around the space illuminate the ways in which artists work with intertextuality to examine the political terrain of the public body.The inclusion of international artists whose works are rarely seen in Australia is important to ensuring the dialogue has resonance beyond borders. To that end, THE PUBLIC BODY .02 includes artists from 14 countries including China, South Korea, Guatemala, Singapore, Pakistan, South Africa, Mexico and Russia, alongside 19 Australian and 4 Indigenous Australian artists. https://samuelhodge.com/09-for-collective-unconcious Wed, 15 Nov 2023 21:47:09 +0000 Samuel Hodge https://samuelhodge.com/09-for-collective-unconcious HOME / BIO Artspace, Auckland For Collective Unconscious 12 March, 2016 - 22 April, 2016 Billy Apple®Amy BlinkhorneBlack Cracker and GFSTeghan Burt and George RumpLéuli EshraghiTom of Finland®Alicia FrankovichNan GoldinNilbar GüreşDale HardingSamuel HodgeLonnie HutchinsonPaul JohnsWilliam E. JonesYuki KiharaGrant LingardAlex MonteithNgā Taonga Sound &amp; VisionCatherine OpieEmily RoysdonAykan SafoğluAva SeymourJennifer Katherine ShieldsJaimee Stockman-YoungZackary Steiner-FoxBrian Tennessee ClaflinWolfgang Tillmans <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/cc60edfc6a24e71d7a85521e787f78d11e655afe440b31bca900032a8289f999/043a1246-1000x667-q90.jpeg" data-mid="196987134" border="0" src="https://freight.cargo.site/w/1000/i/cc60edfc6a24e71d7a85521e787f78d11e655afe440b31bca900032a8289f999/043a1246-1000x667-q90.jpeg" /> In 1986 gay sex was decriminalised in Aotearoa. To mark the 30th anniversary of the Homosexual Law Reform, Artspace Aotearoa presents The Bill. The group exhibition brings together artists who were born into a legal system where LGBT identities were illegitimate, and who, throughout their careers have witnessed changes that are part of an on-going global transformation. The Bill aims to generate new perspectives on the history of queer identity in Aotearoa.