The ceramic installation Spode Trees and Dressed Silhouettes, commissioned by the British Ceramic Biennial, is part of an overall body of work made over a 2-year period, 2014-2016, that drew upon landscape, text & decorative motifs sourced from the Spode Museum Trust archive of design engravings. The use of industrial chinaware was implicit from the outset in order to reference the factory production of ceramics and its everyday use and function as opposed to the tradition of studio ceramics. The imagery is intended to create a sense of another world in which women pass through as if disinterested or are captured simply wandering across the ware. Industry-decorated ceramic ware as made at Spode has long been associated with providing pictures for homes of all classes, an inexpensive equivalent to the unique painting as seen in museums and collections.

Alongside the installation of ready-made tableware, Hodes created single and sequenced ceramic plates, paintings and prints, that were the result of research made at the Spode Museum Trust Archive, supported by Arts Council England. The intention in the accompanying paintings was to complete the circle and return the plates into components embedded within paintings.