Clive Hodgson, untitled, 2010, oil on canvas, 10 x 14".

Clive Hodgson

42 Carlton Place

Clive Hodgson, untitled, 2010, oil on canvas, 10 x 14".

The title of Clive Hodgson’s recent exhibition “Signed Paintings” was doubly significant: On the one hand, all the works were literally marked by the painter with his name, and on the other, as in the work of Robert Ryman, Hodgson’s moniker here became simultaneously a decorative emblem, a formal element, and a mark of authorization. In the

late 1980s, having decided that viewers were not seeing his paintings as such but instead interpreting the actions of his depicted figures, Hodgson abandoned the figuration for which he was gaining renown and returned to abstraction. His works are neither entirely nonobjective nor nonrepresentational in the traditional sense, however; they play with decorative motifs and other pictorial elements. But they eschew narrative and, seemingly, content or even purpose. In this exhibition, for example, curated by the Scottish painter Carol Rhodes at

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