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Peter HofferSacred-Heart - large, fashion, female, abstract, graffiti, resin, acrylic, panel2015
2015
$28,000
£20,914.66
€24,247.21
CA$38,877.30
A$43,576.45
CHF 22,688.98
MX$532,087.08
NOK 288,067.58
SEK 273,062.16
DKK 180,910.46
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About the Item
Forgive Us Our Sins, Sacre-Coeur (Sacred-Heart in English) depicts a high fashion model on the Paris runway. St. Genevieve, patron saint of Paris, is scrawled on the canvas, graffiti style. Created in three vertical panels that reference the classic style of altar pieces, it is elevated by the lower panel. The prettiness of the model is in contrast to the grittiness of spray paint that is superimposed on the work.
This lower panel has been treated with a high gloss resin, in contrast to the matte finish of the rest of the work.
Scrawled in the lower left portion of the painting, the text reads Pardonne nos péchés, or forgive us our sins.
This monumental work is rendered in realism, but ultimately expressed as a defaced modern commodity. The spray painted graffiti is transformed into a series of balloon like images, festive till one realizes they came from a paint gun.
The work is painted on canvas and then mounted on panel. The four panels are screwed together - they can come apart for transportation if necessary. The whole work is framed.
Hoffer studied at the University of Guelph and the Ontario College of Art. He has an MFA from Concordia University in Montreal. He now lives and works in Berlin. His work is regularly exhibited in Canada, Germany, the UK, France and the US.
- Creator:Peter Hoffer (1965, Canadian)
- Creation Year:2015
- Dimensions:Height: 107 in (271.78 cm)Width: 64 in (162.56 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bloomfield, CA
- Reference Number:1stDibs: LU291362382
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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