Alex Hoda was born in Canterbury in 1980. He was educated at Wimbledon College of Art and Goldsmiths College, graduating from the Royal Academy of Arts, London in 2008. Alex Hoda currently lives and works in London.
Recent solo exhibitions include: Alex Hoda, Cass Sculpture Foundation, UK; Wasters, curated by Alex Hoda, Edel Assanti; Rough Music, curated by Alex Hod and Robert Rush, Cass Sculpture Foundation; Sculptural 2015, William Bennington Gallery, Coombe Trenchard, West Devon; Lustwarande ’15 – Rapture & Pain, Fundament Foundation at Park De Oude Warande, Tilburg, Netherlands (2015); The Armory Show, New York, Edel Assanti; Alex Hoda, Lisa Bird Contemporary, Vienna (2014); D-Construction, Edel Assanti, London; Artpark Villa Bulfon, Austria Automatic Action, Edel Assanti, London (2013); Mixed Media, Haunch of Venison, London; This is London, Shizaru Gallery; Immortal Nature, Edel Assanti, London; Special Edition, Art Foundation Mallorca Collection – CCA Andratx, Andratx, Mallorca, Spain (2012); Hostage, 20 Hoxton Square Projects London; Cass Sculpture Foundation, Goodwood, UK; Me’nage a’ Trois, Gallery Nosco, London (2011); Newspeak: British Art Now, Saatchi Gallery, London (cat.) (2010); Type 1 Errors, 20 Hoxton Square Projects, Berlin (cat); Pipedreams, Dickinson Gallery, New York; Pileup, curated by Ken Mcgregor, Metro 5 Gallery, Melbourne; Alexander Hoda, Allsopp Contemporary, London (2009); Alexander Hoda, curated by Nick Aikens, UAL, London (2008).
Hoda's practice has evolved significantly from his initial figurative groupings of deformed, post-apocalyptic creatures, finished in his signature materials of latex and rubber. Imbued with a fetishistic aesthetic, these confrontational works often shocked the viewer into confronting their own fears, anxieties and fantasies; challenging them to question their fundamental understanding of love, sex, pride and death. These radical subjects belie the enduring themes the work explores and subvert the canon of classical sculpture in which he works.
In his most recent works Hoda makes reference to our ability to arrive at false premises by misinterpreting what is in front of us, due to the wealth of associations and pre-judgements automatically triggered by our subconscious. Hoda's writhing metal forms, at once suggestive and impenetrable, ask us to consider whether a 'Type One Error' of biased or predetermined reading occurs when interpreting abstract sculpture.
Hoda uses a technique of automatism to challenge the viewer's approach to figurative sculpture. His works recall a surrealist agenda, one that is summarised by Max Ernst's desire for 'the viewer to witness the emergence of the work'. In essence Hoda plays with the idea that what the viewer's sub-conscious brings to the sculpture ultimately determines its meaning.