Ryan Hoffmann, The echo of a moment; one that keeps touching your back once it has ended. Torquay, 30/04/2022, 2022, oil paint, acrylic paint, CSM, gypsum, synthetic polymer, timber, stainless steel and aluminium,130 x 130 x 12cm. Courtesy: the artist and Sophie Gannon Gallery, Melbourne.
We like to imagine our lives as ordered; labelled bottles, jars and containers stacked neatly on a shelf, classified to our liking. Rows, on rows on rows representing our accumulated life experience. This is how we tend to present our lives; as linear and clear cut; but the reality is far from this; and we do know deep down that not everything can be attributed to a neat package.
Control is central to this museological mode of thinking; and is in part attributed to our contemporary, distracted lifestyles. But the problem with this is that we may fall into familiar patterns of labelling the world around us according to a set of binary signifiers; a thing is either “this” or “that” – not two things at once. This black and white thinking; is of course polarising, and can be unhelpful as there is little room for things to reveal themselves naturally through nuance, layers and growth. Like moisturiser that is applied hastily to dry winter skin, the potential nourishment of this action can be lost in part, due to an unwillingness to slow down to wait in full, for the results to reveal themselves.
In contrast to this, Ryan Hoffmann’s new body of work for this exhibition titled A White Flower Can Also Be A Ghost is a result of the artist’s deliberate intention to slow down, listen to himself and his practice and to look for the grey, in-between of things. Take for example, the artist’s use of titles, we read: To look is to find, An echo of a moment and Moon Shimmer each providing an auto-biographical instance of the artist’s capacity for waiting, listening and sitting with thoughts. This requires open mindedness and patience. It can be uncomfortable but the outcomes include the potential for further depth, nuance and understanding, of how we perceive both ourselves and others.
Hoffmann has been vulnerable with himself, and the outcomes speak for themselves in the work for this exhibition. Across the shapes of the moulded paintings, colour palette of the oil paint and artistic approaches that value slow inquisition into the hand made, the pieces are sublime, deliberate and speak to both the immediacy of time, and timelessness itself. – Tess Maunder
Opening: 9 July, 2 – 4pm
