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Peter HofferBauhaus No 01 - large, blue, green, architecture, deconstruction, mixed media2014
2014
$13,500
£10,023.03
€11,679.59
CA$18,742.36
A$20,964.51
CHF 10,910.05
MX$258,080.25
NOK 138,798.49
SEK 130,220.34
DKK 87,141.39
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About the Item
Peter Hoffer’s landscapes have one foot in classic realism and the other in deconstruction. This work, created with clay silicate and pigment on linen, juxtapose the Bauhaus architecture with graffiti like gestures of spray paint. The scale is important to the appreciation of the work.
Peter Hoffer (b. 1965, Brantford, ON) holds an MFA. from Concordia University and degrees from the University of Guelph and OCAD University. He has lived and worked in Toronto, New York City, Paris, Montreal and Berlin.
Hoffer's paintings can evoke nostalgia for romantic forms and periods. Hoffer has exhibited widely at art fairs in Basel, Toronto, New York, Stockholm, London, Milan, Amsterdam and Hong Kong. His paintings are held in many private, corporate and public collections including the Musée des Beaux Arts, the Musée du Quèbec and the Kitchener-Waterloo Art Gallery.
- Creator:Peter Hoffer (1965, Canadian)
- Creation Year:2014
- Dimensions:Height: 47.5 in (120.65 cm)Width: 94.5 in (240.03 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bloomfield, CA
- Reference Number:1stDibs: LU291374622
Peter Hoffer
Peter Hoffer's contemporary paintings have been described as being as much about studio materials and techniques as the subjects they convey. Peter Hoffer portrays trees. He invites the audience to take a closer look at their posture, their details and their expressions. The subject is as important as the technique: the way trees grate, scratch and age is as much of a concern to Hoffer as the trees themselves. They are painted in a very classical, realistic and almost photographic manner, but they have a strong contemporary feeling imparted by the epoxy resin finish and the rough wooden box on which the artist paints. Hoffer’s work is a paradoxical mix of past and present, old and new, rough and sophisticated, realistic and abstract, outside perspective and intimate feeling. The trees that Peter paints are not a copy of an existing geography. Sometimes he paints from photographs, but most of the time these trees are reminiscences. However, whether they exist or not, he sees his work as more about technique, about how he perceives the world, rather than the reality of the world itself. A few kilometres from Montreal, Peter has a cottage in the middle of the forest, which has become his lair, a place where he loves to paint. When he gets started, he starts by painting with oil on wood, then the more creative part begins: he applies touches of acrylic paint and several coats of epoxy varnish, which he makes himself. This process was inspired by the varnishes used in the academic painting salons of the 19th century, a way of embellishing paintings and conserving them. For the artist, it is a question of staging evocative landscapes, which will awaken memories, dreams, a feeling of déjà vu in each one. But at the second reading, if we see more than a landscape but a true reflection on art, the representation of nature and the painting as an object in itself, then he will have succeeded in his wager.
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