Espacio paralelo (Parallel space) Painting

For the paintings in his series Espacio, the artist has started from architectural models and to be more precise from three-dimensional models, which nowadays -and curiously- are more used by artists than by architects, the latter who project and design everything in digital media. After investigating architects such as Frank Gehry, Zaha Hadid and Richard Rogers, the artist has built cities crossed by three-dimensional geometrical forms, models that seem to exist in a parallel dimension and that seem to be part of a universe where geometry evolves incessantly, where the curve with all its malleability faces the straight lines of the modules that constitute the silent buildings. In this, beyond the formalist game, what engages the artist is a philosophical question. For Moreno Hoffmann, the confrontation between the curve and the straight is a statement about the limits of beliefs, about the impossibility of conceiving the universe in a rational way, the need to understand and learn through the body, the senses and intuition. To make these and other arguments clearer, the artist has defined his palette with the use of titanium white, ivory black and Van Dycke brown, painting exclusively in white, grey and black. With this apparently reduced tonal range, the artist invites us to confront ourselves and travel through a mathematical architecture without limit, to join in through the holes in the windows of a vehicle that flies over floating cities, with its pronounced perspectives and skies charged with immense clouds and electricity, which do not cease to evoke the drama of the 19th century European Romantic landscape. In my opinion, the skies in his paintings have to do with the grey landscapes of Bogotá, located in the north of the Andes montain range, a city of stubborn rain and unexpected downpours. Thus, the game of references is extended and the artist takes us through The Raft of the Medusa by Gericalut, or The Great Wave of Kanagawa by Hokusai, but also to science fiction and its landscapes -Alien, The Incal- in short, to cultural icons that address the abandonment of man facing natural forces, the awareness of universal powers, and the feeling of precipitation before the imminent. His iconographic references also lead us to ask ourselves: Why does the artist continue to use a medium such as oil painting, when his images have so much to do with digital creation, science fiction cinema and video games? Moreno Hoffmann has an enormous respect for painting, for its durability, for its historical resistance and essentially because he perceives it as a means of knowledge about reality, which is as valid today as it was yesterday. For the artist, painting is not just about making an image, it is about entering into the intrinsic knowledge that allows him to connect with the whole of art history itself, with the Western pictorial tradition and with the artists he admires, among whom we could count Julio Le Parc, Anish Kapoor and Francis Bacon.

Painting:Oil Painting on Canvas

Original:One-of-a-kind Artwork

Size:18.1 W x 21.7 H x 0.7 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.