Photography by Hubert Cecil
Exhibitions
BURDEROP HOUSE Launch Exhibition with t H E I R Gallery, Wiltshire, 2024
Hidden Frequencies: Conscious Connections at Moor House, London 2024
ZOË HOARE, UNFOLD at t H E I R Gallery, London, 2023
ZOË HOARE, A MOMENT IN TIME at Rhodes Contemporary Art, London, 2022
FEMME-ATE at Soho Revue, London, 2022
ZOË HOARE, SEEING THROUGH FOLDS at Soho Revue, London, 2019
Skinscapes at Unit 1 Gallery, London, 2017
Works on Paper at Cube Gallery, London, 2017
'From the Studio Floor' at Guildhall, Cambridge, 2016
City and Guilds of London Art School MA show, City and Guilds of London Art School, 2016
Zoë Hoare at 2 Soho Square, London, 2016
Zoë Hoare and Alex Hollinshead at Brixton East 1871, London, 2016
‘From the Studio Floor’ at Anise Gallery, London, 2016
Zoë Hoare at the Muse Gallery Portobello, 2-week solo show, London, 2014
Artonomy Exhibition, Belgrave Music Hall, Leeds, 2014
Keep Hush presents ‘Hidden’, 6 Hyde Park Gardens, London, 2014
City and Guilds of London Art School Summer BA show, City and Guilds of London Art School, 2014
Zoë Hoare solo show at Lisa’s, 305 Portobello Road, London, 2014
‘In the Making’ BA show, The Rag Factory, London, 2013
+44 Exhibition BA show, City and Guilds of London Art School, 2012
Zoë Hoare
Zoë Hoare completed a masters in Fine Art at City and Guilds of London School of Art. Zoë Hoare is interested in the dual processes of deconstruction and reconstruction, specifically in how surfaces such as paper can be taken apart and reassembled through their cutting and rearrangement.
Hoare aims to establish an uncanny harmony between the destructive technique of cutting and the often-delicate outcomes which emerge. She noticed that an interesting transformation takes place when something dimensional is wrapped or covered in a semi-translucent material, instantly making it appear flat and image-like. There is a sense of illusion here, as the image is not what it first appears to be. As the veiled object makes contact with its frosted acrylic skin, light is allowed to pass between the two and the folds and incisions are illuminated as if from within.
The work’s complex processes of making emerges out of concerns that are not simply formal. Hoare would like to bring attention to how things can be perceived to what they actually are; it is the discrepancy between the two that fascinates her. The work operates between states of illusion and fact, and is in some ways an attempt to encourage the viewer to question how surface appearances and underlying structures are always intertwined and inseparable. She would like to slow down the dual processes of looking and thinking and through the mingling of illusion and materiality bring out an actuality of the thing itself.
