Hodge is interested in devising ways to render material surfaces in paint. His recent bodies of work honour a deliberately handmade quality, where he uses bespoke tools and brushes to create marks that resemble the warp and weft of tapestries. Initially working from illustrations and digitally collaged photographs, Hodge meticulously recreates these layered compositions in paint. Through his deliberate use of shadows and sharp edges, he achieves convincing trompe l'oeil planes that reinforce intellectual and visual collisions, where forms and shapes appear to hover and stack together.

Hodge’s foremost layer within his paintings are perhaps the ribbon-like gestures that undulate across the surface of his compositions, which have become a signature motif. Standing in for figures, fabric and other restless forms, these gestural devices are designed to disrupt representational symbols and any coherent reading of the paintings, returning densely arranged works back to the subject and experience of painting itself.

Gregory Hodge has completed international residencies at the Cité Internationale des Arts Paris (2019-2020 and 2024); The British School at Rome (2015); and Basso Berlin (2011). He holds a PhD from the Australian National University Canberra School of Art (2016). Hodge has been a finalist in numerous prizes including the Wynne Prize, Art Gallery of NSW (2023); Bendigo Art Gallery’s Arthur Guy Memorial Prize (2019); The Geelong Art Prize (2018); and the Sulman Prize, Art Gallery of NSW (2016) (2017). His work is held in several permanent collections including the National Gallery of Australia; The Wollongong Art Gallery; The A.C.T Legislative Assembly; and the Australian National University.