Lisa Von Hoffner, St. Maria, Oil, acrylic, spray paint, plexi glass, and vinyl on birch panel.
Lisa Von Hoffner, Mesotpotamia, 2015, Oil, spray paint, plexi-glass, vinyl, wood, and gold leaf on cavas mounted to birch panel with changing LED lights.
Lisa Von Hoffner, Sugar Pie, Oil, spray paint, plexi-glass, vinyl, resin, wood, and gold leaf on birch panel, backlit with LED lights.
Lisa Vin Hoffner, Looking, 2015, Oil, acrylic and spray paint on wood with neon tubing, 29 by 29 inches.
Lisa Von Hoffner, Phantasma, 2014, Oil, acrylic, spray paint and resin on wood with argon mercury tubing, 29 by 29 inches.
Lisa Von Hoffner, Gatherer, Prisma colors, spray paint, argon mercury tubbing on suspended mylar.
Lisa Von Hoffner, Tumescence, Oil, acrylic, and spray paint on wood.
Venus de Memphis, Oil, acrylic, spray paint, and vinyl on panel.
Lisa Von Hoffner, Untitled, Prisma color and acrylic on mylar.
Lisa Von Hoffner, Untitled, Prisma color and oil on mylar.
Lisa Von Hoffner, Cyan, 2014, Prisma color and oil on mylar.

Lisa Von Hoffner

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 the paintings off of the wall, wrapping them in neon and slathering them with puddles of resin, Von Hoffner's work defies the two-dimensional picture plane. In doing so, her paintings are transformed into art objects themselves, echoing the normative objectification of women.

FINE ART COMPLEX

Cart

    Website Created & Hosted with Website.com Website Builder