In 2017, Wolverhampton Art Gallery presented papercuts and ceramic installations that juxtaposed Hodesʼ interest in ornament, the figure and the architectural characteristics of the building with her contemporary involvement in gendered perspectives and process. The wall installation, Remember Me, consisting of over 120 ready-made china plates, seeks to give form to the themes of pending loss and appeal to be remembered explored in Dido’s lament in the opera, Dido and Aeneas. A related 3-metre long papercut, Frieze, accompanied the installation.

Hodes has been a prominent figure within the debate around the relationship between craft and fine art practice and between what could be regarded as high and low culture. Hodes’ work is about boundaries: the contours of the female nude, generic hierarchies between craft and art, the decorative and the fine arts, the domestic and professional, the body as a singular identity and the multiplicity of selves afforded by technological reproduction – Professor Hannah Westley.