Alexander Hoda

Alexander Hoda Exhibited at The Saatchi Gallery

Alexander Hoda


Foam, paper, wire, rubber

145 x 120 x 125 cm

“When I was younger I traipsed around museums like the V&A, and the Rodin Museum in Paris. I saw a lot of classical statues but I was really more interested in the toys in the tourist shops. As I got older I wanted to try and make those interests mould into one thing. The use of rubber in my work was a way to try and find a material that had the same fetishistic appeal as metal but wasn’t. I’ve always been interested in natural history programmes and was brought up, like many kids, on David Attenborough. We have a fascination with animals; they act as a mirror to ourselves. In some ways we’re able to understand the way we act in terms of animals. In Saddleback I wanted there to be an ambiguity between the animals caring for one another but also trying to manipulate each other; it captures an indecisive moment between where caring becomes possessive.”

Alexander Hoda
Pile Up


Polystyrene, latex, resin, rubber, found objects

345 x 248 x 205 cm

“Pile Up was inspired by a knick-knack I bought on eBay, a stack of pigs piled one on top of the other; a bizarre but appealing thing. It was like they were emerging out of one form. I had also just visited the Uffizi in Florence where I saw Michelangelo’s The Captives, a series of studies he made where only partial elements of figures appear emerging from stone blocks. I wanted to explore the relationship between these two references. There’s a sexual insinuation in the way the rubber gives an initial binding of the figures, a uniform coating, but also violence in enhancing the dynamics between the forms. With traditional figurative sculpture an artist literally hacks away at something to create or destroy a figure; sculpture is violent. Sculpture is a bodily experience, you are confronted by an object that inhabits the same space as you do.”

Alexander Hoda


Polystrene, latex, pva, plastic, rubber

178 x 165 x 245 cm

“For this piece I wanted to have more of a scene, like the narratives within classicism and mythology, but my own. It’s like a freeze-frame of a moment. I make my sculptures by collaging found objects to form the composition and then coat the entire surfaces with rubber. This is a way to ‘dress up’ the objects, to make them re-perform in a different environment, re-contextualise them with new meanings. The found objects and masks underneath the surfaces give the effect of an inflatable object that’s almost expanded to the point of collapse. In my work I am exploring relationships, desires, and urges, to perceive them in different contexts rather than something that’s conditioned to be guilt-laden or perverted.”

Alexander Hoda's Biography

Alexander Hoda
1980 Born in Canterbury, UK
Lives and works in London


1999 - 2000
Wimbledon College of Art

2000 - 2003
Goldsmiths College

2005 - 2008
Royal Academy Schools


Pipedreams, Dickinson Gallery New York (solo exhibition)
Pileup, curated by Ken Mcgegor, Metro 5 Gallery, Melbourne

Alexander Hoda, curated by Nick Aikens, University of the Arts, London


Type 1 Errors, @ 20 Hoxton Sq, Berlin (cat.)

Newspeak: British Art Now, Saatchi Gallery, London (cat.)

Anticipation, curated by Kay Saatchi and Catriona Warren, Selfridges, London
M25: Around London, curated by Barry Schwabsky, CC Andratx, Mallorca
The Future Can Wait, Truman Brewery, London (cat.)

Who’s On Second?, curated by Michael Pettey, Pumphouse Gallery, London

Premiums, Royal Academy Schools, London

Material, curated by Nick Aikens and Alexander Hoda, Next New Artists, London