Description

2016

Oil, plaster, found nature calendars on carved wood

5 1/2 x 7 1/2 x 1 1/2 in

Camille Hoffman’s (b.1987 Chicago, IL) practice is a ceremony of reconfiguration and critical reflection on the romantic American landscape. Taking inspiration from the Philippine weaving and storytelling traditions of her ancestors, along with traditional landscape painting techniques from her academic training, Hoffman interweaves image with refuse (including holiday-themed tablecloths, discarded medical records, plastics, and more) in order to reveal transcultural contradictions. Hoffman earned an MFA from Yale University (2015), a BFA from California College of the Arts (2009), and was a recipient of the Carol Schlosberg Memorial Prize for excellence in painting from Yale University, a National Endowment for the Arts scholarship, a Benjamin A. Gilman International Scholarship, and the Van Lier Fellowship from the Museum of Arts and Design (MAD). She has been featured in publications including Art in America, the Los Angeles Times, and The New Yorker. Solo exhibitions include Motherlands at Form & Concept (2022), See and Missed at San Luis Obispo Museum of Art (2022), Landing For Lolo at NADA House Governors Island (2021), and Excelsior: Ever Upward, Ever Afloat at the Queens Museum (2019). Hoffman has also worked for over 16 years as an arts educator in Phoenix, the SF Bay Area, New Haven, and New York City. You can view more of her work on her website.