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Muestra de Eduardo Hoffmann
en Miami
DIANA LOWENSTEIN FINE ARTS
3080 SW 38 TH.COURT MIAMI FLORIDA 33146
TE: 305 774 5969 FAX 305 774 5970
THE PERFECT EMPTINESS
EDUARDO HOFFMANN
Friday January 5th till 29th./2001
Reception January 5th from 7:30- 10:00 pm
With the presence of the artist
“(…) The notion of emptiness in Hoffmann takes its sense from a certain mystical tradition, that, in order to express determined religious experiences and phenomena, simultaneously uses the “affirmative” route (satiation, fullness and completeness) as well as the “negative” (emptiness): phenomena of polar identity that include the opposites (…) To touch is a verification. To touch these paintings, supposedly, is to come nearer to the truth they show. In this case, to prove if all these colors and shades correspond with an imagined
texture.
It is the closeness of touch that searches intimacy and contact. But these complex surfaces are only pierced by the eye. The hand only gets until there, ‘ I am a painter that tends to load his works in several senses, and, of course, with a great amount of matter’, says Hoffmann. “This idea of emptiness, that I take from Buddhism, has attracted me for a long time: it allows me to set free or, better, to leave the paintings liberated to my own gesture. And with reference to the emptiness, I am very interested in the blank spaces on the canvas. The empty spaces included in each work, what lies within the world of the painter, but
notwithstanding, has not been touched by him. I believe, finally, that nothing exists, except emptiness and beauty.(…)”
“(…) The surfaces of his paintings are pierced by layers of materials, colors, infinite lines, gratings, imprints, insects, accidents. Each work is a territory in combustion that operates like a place in which the materials are deposited and mixed. Each painting could be considered as a collection of aesthetic traditions: the traces and the marks suppose, at the same time, a tradition of gestures and a primitivism religiously cultivated by the artist. Through the thickness (material and symbolical) of each painting a process may be inferred that is not only technical but fundamentally cultural. Successive and superposed layers of materials evoke different layers of lost senses. Meanwhile, on the surface, drawings are unfo9lded: a whole zoology and botany that may be recognized, plus a series of arabesques that sometimes play symmetry and others go crazy in disconnected sequences. The natures of the works produce the certainty of the
surplus. (…)”