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[title]Eduardo Hoffmann's international career is a standout aspect of his work. Especially for an artist born in Mendoza, where limitations are not only geographical but also in terms of access and opportunities. Perhaps for this reason, at the age of 20, the young painter realized that to pursue his search, the best thing was to settle in a city like Buenos Aires.
From there, he built a path of exhibitions, experiences, travels, and projects that have led him to make an impact with his formats, supports, and colors in circuits, fairs, and prestigious galleries in Argentina, Brazil, the United States, Spain, Switzerland, Belgium, France, Italy, Morocco, China, Malaysia, Australia, and Lebanon.
His paintings, his dance with plasticity, and his poetic mystery cross borders, cultures, and languages. Eduardo Hoffmann carries the strength of an instinct he has developed through discipline, hard work, and self-motivation. He also thrives on exchange and learning with others, collaborative works, and commissions for luxury hotels that have been as surprising as they have been challenging.
The activity is intense and constant: "I start painting very early and leave at night," he summarizes his days in his large studio located in Central Park, a business center in Barracas. "There, I discover treasures, and it's like an inner laboratory in which there's always new work," he adds.
"In my studio, I discover treasures, and it's like an inner laboratory in which there's always new work"
Large-format paintings have by now become his signature. The materials, although acrylic is his best ally, may vary, and there are no limitations when it comes to creativity. History, fantasy, and beauty continue to be the compass for this artist who loves the accidents of experimentation and heterogeneous forms.
"It has been gratifying that my work has reached architects like Norman Foster, who, through his studio, invited me by mail to paint a landscape of India, a place I had never been. This painting is in the city of Gurgaon and spans 64 square meters. Later, they requested other large works, including one for a Park Hyatt, also by Foster, which is 50 square meters. These commissions came after they saw one of my paintings at the Rosewood London hotel, requested by the renowned architect Tony Chi," he shares.
"It has been gratifying that my work has reached architects like Norman Foster"
Who have been your great guides and references in painting?
Since I was very young, I have admired Picasso, and over time, this admiration grew immensely. Antoni Tàpies has been another great reference for me, and in the beginning, I was influenced by René Magritte's surrealism. The physically closer tutors were Zdravko Ducmelic, who was my painting teacher at the National University of Cuyo, and I felt a great connection with Julio Le Parc from the first moment I met him in Paris. On the other hand, my rugby and life mentors, Miguel Setien and Jorge Navesi, have also been significant influences.
"With Julio Le Parc, I felt a great connection from the first moment I met him in Paris"
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How do you experience your relationship with art?
I've been involved with art for half a century, and the disciplines I haven't practiced, I love and admire equally. Today, I'm so naturalized with art that I don't know what it would be like to live outside of it. In fact, I can't understand how some people go through life on the margins because, for me, art is a significant part of fulfillment.
Was it necessary to leave Mendoza to project yourself nationally and internationally? When I left for the first time at the age of 20, I was simply seeking to acquire knowledge and experiences to become a better artist, and that’s the same thing I’m still pursuing today.
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When did you realize you were a painter of large dimensions? What techniques or processes are part of your work?
Several years ago, when I found hemp truck tarps that measured around 10 meters, a bit before the Peñaflor Group commissioned me to create a large mural for a winery. I really liked this Renaissance challenge, which was followed by others, such as large commissions from architect Tony Chi for the luxury hotels Rosewood London or Rosewood Hong Kong. Also, from British architect Norman Foster for India, and in my hometown, for the Orfila Museum in San Martín, where I worked with architect José Aranguren. Later, I was commissioned by the Mendoza Theater, and recently, two large works for Hualta Hotel, also in Mendoza City. Because I’m a restless and curious artist, my techniques have always been diverse.
What projects are you currently working on?
There are big projects ahead that involve all the arts, and Mendoza is a beautiful and beloved foundation. I do what I love most, which is painting, and I live the life of an artist. I'm motivated by the mutation, the dynamics, and the riddle that my work proposes.