They’ll meet you right at the door, as soon as you walk in the room.
They are the beautiful, social butterflies of the walls. These are paintings that dazzle with their texture and converse with their color.
But before these charismatic compositions were all dressed up in their rich textures and striking colors, they came from modest places. All of Hofherr’s social butterflies, were once wallflowers.
Hofherr spares time for moments that would otherwise go unnoticed.
“I like trying to see the potential in something that others might overlook,” the artist explains.
He stops for a stream, or a yellow parasol, or a bookstore on a rainy day. He looks back and sees the single green tree in a landscape, or the girl, with the thatch basket, who is three quarters up the hilly pathway home.
“I find something interesting in places that many people would pass by without noticing,” he says.
He saves moments that would have been otherwise lost in the gulf of past tense. He creates a small dam that holds back the stream of consciousness as it too-easily trickles past memory banks.
“Whatever the inspiration, I filter it through my own experience and vision to hopefully create something unique and compelling,” says Hofherr.
He has been catching and filtering slipping memories for years – he even seeks them out.
Years ago, when his children were younger, they would all take trips on the weekends. They would pack a picnic, pile into the car, and they would drive to new places – always new places. They had a simple goal for the trips: to learn and to see something new.
“Maybe this desire to seek out roads less traveled informs my landscape work, since I rarely do “typical” locations,” he suggests.
Country Church on an easel in Hofherr’s studio
When he does not paint en plein air, he brings sketches or photographs of his inspirations back to his studio – a small spare bedroom in his home.
There, in the natural light and sound of classical music, he turns acrylic paint, gallery-wrapped canvas, and a nearly lost moment into art.
Hofherr defines himself as “a color-focused expressionist.” He admires simplified drawing styles, expressive brushstrokes, and daring color choices.
“In terms of color, I try to be less worried about the actual colors one can see and more concerned with what colors will make the most successful painting,” he says.
His color choice is bold and explorative. It is as if each of the original colors has independently decided to take a stroll down the color spectrum, and wandered into a delightful, untrodden territory.
“In keeping with my admiration for the Fauves and other post-Impressionists, I tend to brighten up and generally exaggerate the color palette for maximum impact,” he says.