Salon Ninety One

To make a landscape fit indoors
A solo exhibition of paintings and sculpture by Jeanne Hoffman
09 September 2020 – 03 October 2020

JEANNE HOFFMAN. The poetry of absence, 2020. Acrylic on Italian cotton. 1725 x1315mm. Framed

In To make a landscape fit indoors, I draw collected impressions back into the space of painting. Normally, when preparing for a show, I would drift between various mediums setting up relationships between things, but the constraints of lockdown required a strategy of turning inward. It necessitated the use of whatever was at hand. I returned to collage: Collecting fragments of whatever caught my eye, and assembling them into arrangements that obediently fit within the edges of a page. The processes of cutting and arranging became a kind of gardening of fragments.

JEANNE HOFFMAN. Self-portrait in borrowed clothes, 2020. Acrylic on Italian cotton. 565 x 465mm. Framed

In transferring the collage references into the field of painting, the metaphor of the garden became the guiding principle. I worked from multiple perspectives, zooming in and out of the constructed landscapes, shifting focus between textures from up close to more distant views, often in the same work. Frames and borders became important: the idea of a device that separates inside and outside.

At times, I stayed quite close to legible references in the collages. These material borrowings serve to engage in an interplay between physical objects and their relation to the poetic objects of the imagination. Their peripheral presences pointing to relational meanings of the interdependent dualities of  becoming/disintegrating, inside/outside and room/object. These considerations are similarly described in the frames within frames of paintings, which interrogate the limits of the object and the room/object border.
Gardening has to do with observing change. A garden is at once completely still and continually changing: continuous movement and accumulated object. It speaks of the tension between motion and stillness inherent in assemblage – the process of being formed, of “becoming”, which inhabits relationships between discrete elements of the work. In “becoming”, one piece is drawn into the territory of another, changing its value as an element and bringing about an unexpected unity. Deleuze would say, the life of the work is in the “intermezzo”.
– Jeanne Hoffmann, September 2020, Cape Town –

JEANNE HOFFMAN. Make a landscape fit indoors I, 2020. Acrylic on canvas. 820 x 620mm. Framed


JEANNE HOFFMAN. Fold, 2020. Acrylic on Italian cotton. 315 x 270mm. Framed


JEANNE HOFFMAN. Field, 2020. Acrylic on Italian cotton. 320 x 240mm. Framed

Jeanne Hoffman (b. 1978)
Working across diverse mediums and far-flung geographies, artist Jeanne Hoffman revels in the spaces between things. Paintings, drawings and ceramic objects function as dwelling points – “temporary shelters for thoughts” – as she explores the emotional and socio-cultural dimensions of place. Hoffman states: “There is a direct correlation between travelling across a landscape and the path of a graphic mark that transforms a blank page into an imaginary space.” “Drawing” translates then not only to three-dimensional artistic mediums and physical space, but also to a larger “stage”: Referential forms are assembled in relation with one another, creating movement, dialogue and meaning on the fringes of delineation.
Hoffman has held numerous solo and group exhibitions, both locally and abroad, and has participated in residencies in Belgium, the Netherlands, Finland and South Africa.

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JEANNE HOFFMAN. Calypso, 2020. Terracotta, porcelain. 230 x 280 x 270mm


JEANNE HOFFMAN. At home in the unknown II, 2020. Acrylic on Italian cotton. 615 x 815mm. Framed


JEANNE HOFFMAN. A landscape up close, 2020. Acrylic on Italian cotton. 820 x 625mm. Framed