Nicky Hodge: Touch PaperJul 26 – Aug 23, 2025
Artist Statement: I've always found it difficult to distinguish between a painting and a drawing. I’m drawn to making paintings that use marks in an instinctive, spontaneous way, allowing a brush to go into free fall across the surface of the canvas. Equally, I make drawings that use immediate, expressive marks – a rapid, effortless process that can sometimes only take a few minutes to complete. The media or surfaces the drawings are made on is largely immaterial. What counts is the energy that is apparent in these gestural works – the sense of a line taking itself for a walk (to use Klee’s famous phrase) and the emotional direction this may lead you in.
The drawings for Touch paper have, over time, explored multiple directions. One hallmark of my practice is that I don’t ever revisit the same thing twice; rather, my work makes forays into the unknown. Initially, I made a series of 60 or so A5 drawings that had size as their common denominator, but which quickly developed a sense of playfulness as elemental shapes such as circles, triangles and schematic lines began to emerge. After this, I tried to turn off all conscious thought to allow myself to work intuitively with purely abstract drawings. I often worked in series, sometimes using large sections of brown card as well as smaller pieces of paper, grabbing whatever media was immediately to hand in the studio. I would start each drawing with a mark and then work quickly across the surface – putting mark next to mark – often not quite daring to look, and simply allowing my hand to guide itself.
Reflecting on these works now, what most strikes me is the way in which there is a sense of rightness about these indeterminate images. Some part of this is to do with the confidence of the marks, but there is also a way in which a drawing either sings to me or doesn’t, which is not easy to quantify when so much rests on the unconscious process of its making.
Words
- Nicky Hodge
Photos
- Ellen Hancock
Featured works
- Bath Gallery
Nicky HodgeBright Scallops 15, 2025
- Bath Gallery
Nicky HodgeBright Scallops 17, 2025
- Bath Gallery
Nicky HodgeBright Scallops 03, 2025
- Bath Gallery
Nicky HodgeBright Scallops 18, 2025
- Bath Gallery
Nicky HodgeBright Scallops 20, 2025
- Bath Gallery
Nicky HodgeMisstep, 2025
- Bath Gallery
Nicky HodgePurl, 2025
- Bath Gallery
Nicky HodgeBright Scallops 13, 2025
- Bath Gallery
Nicky HodgeUnloosed, 2025
- Bath Gallery
Nicky HodgeBright Scallops 21, 2025
- Bath Gallery
Nicky HodgeBright Scallops 01, 2025
- Bath Gallery
Nicky HodgeBright Scallops 02, 2025
- Bath Gallery
Nicky HodgeBright Scallops 09, 2025
- Bath Gallery
Nicky HodgeBright Scallops 10, 2025
- Bath Gallery
Nicky HodgeBright Scallops 11, 2025
- Bath Gallery
Nicky HodgeBright Scallops 12, 2025
- Bath Gallery
Nicky HodgeBright Scallops 07, 2025
- Bath Gallery
Nicky HodgeBright Scallops 08, 2025
- Bath Gallery
Nicky HodgeBright Scallops 22, 2025
- Bath Gallery
Nicky HodgeBright Scallops 14, 2025

Hodge creates her abstract paintings and drawings with immediacy and intuition, working quickly and performatively to make sweeping, gestural marks. Using acrylic diluted with water on raw, untreated canvas, she often softens the surface with a brush, blurring calligraphic gestures into ethereal forms.
Related exhibitions
- Bath Gallery
Nicky Hodge: Slip RoadMay 13 – Jul 29, 2023
In Slip Road, Nicky Hodge continues to explore her individual practice of 30 years. Composed at the start of 2023, these paintings result from an intense period of productivity: the canvases were completed energetically, one after another, each one flowing into the next in a state of meditative flow. “Time is important to the work,” says Hodge. “The sequence in which the paintings are made creates a narrative, as the works form relationships between each other and the group as a whole.”
Indigo voyager, you lift above green, travel in horizontal time, with silent messages. Deep green grows behind you, smudged over a paler green. The gaps between are soothing, not anxious, as ideas seem to float past. Emissary (2025), like many of Nicky Hodges’ paintings is quiet, but it is not easy. It has activity within the quietude; a thinking mind behind a calm face. And don’t we seek both – the beauty and tranquillity of abstraction that frees us from the tyranny of representation, and yet also the sense that something is yearning to be represented at the edge of the image – or no – from within it.