Hoda's practice has evolved significantly from his initial figurative groupings of deformed, post-apocalyptic creatures, finished in his signature materials of latex and rubber. Imbued with a fetishistic aesthetic, these confrontational works often shocked the viewer into confronting their own fears, anxieties and fantasies; challenging them to question their fundamental understanding of love, sex, pride and death. These radical subjects belie the enduring themes the work explores and subvert the canon of classical sculpture in which he works.
In his most recent works Hoda makes reference to our ability to arrive at false premises by misinterpreting what is in front of us, due to the wealth of associations and pre-judgements automatically triggered by our subconscious. Hoda's writhing metal forms, at once suggestive and impenetrable, ask us to consider whether a 'Type One Error' of biased or predetermined reading occurs when interpreting abstract sculpture.
Hoda uses a technique of automatism to challenge the viewer's approach to figurative sculpture. His works recall a surrealist agenda, one that is summarised by Max Ernst's desire for 'the viewer to witness the emergence of the work'. In essence Hoda plays with the idea that what the viewer's sub-conscious brings to the sculpture ultimately determines its meaning.