Lisa Von Hoffner gives us a both a painterly and a sculptural aesthetic, where backlit geometries refract light through a million different facets of the work during different times of day. Part minimalist monochromes, part phenomenological pleasures, Hoffner’s gold and silver discs speak to how we understand the auspicious nature of the commodity-form represented here by a panoply of embolden surfaces. Fitted together rather seamlessly, they are part of an art historical puzzle that mixes the valances of abstraction with the effects of the Finish Fetish school and the Light and Space movement.
As a traditionally trained representational painter, Hoffner’s more abstract works provide a distinctive counter-balance to the kind of conservativism that is often associated with figurative painting. In recent years, her abstract works have become celebrated stand-alone pieces that engage in strategies of re-appropriation, assemblage and the hybrid stylization of opulence unbounded. With each new piece, the artworld has taken note of her contributions to the idiom of “New Geometricism” and its relationship with the virtual, the digital and the synthetic.
Toward this end, a dazzling array of punctuated colors mixed with atmospheric effects are what makes Hoffer’s aesthetic touch on the experience of the chromatic sublime while courting everyday art lovers with ques from the carnivalesque. Taken together, these virtuoso qualities make Hoffner a creative voice to be reckoned with as her work has gained wider and wider exposure from her years as an emerging artist, up to, and including, the stunning accomplishments of the present.
Bio: Lisa Von Hoffner’s work brings to light the paradoxical state of women’s sexuality in a distinctly patriarchal society, literally and figuratively. Laced with bright lights and a near hallucinatory fanfare of color, the immediate tenor of her work is a carousel of revelry and excitement, similar to the buzzing allure of Vegas. This sparkling veneer is sarcastically subverted by the realities that are being addressed- objectification, commodification, and the disfigurement and misuse of women’s sexuality in society. Through the hallowed reiteration of circles and a hyper-spectacle of art objects, these pieces enter the realm of devotion- devout objects to be revered, objects that pay homage to the sanctity of womanhood. This sentiment is punctuated by ever expanding upon the materiality of the work with complexly loaded ingredients, such as neon and LED lights. By elevating her paintings off of the wall, wrapping them in neon and slathering them with puddles of resin, they defy their own two-dimensionality. In doing so, these paintings are transformed into art objects themselves, echoing the normative objectification of women.