Ornis A. Gallery proudly presents the third solo exhibition of German artist Julius Hofmann (1983).
The video ‘Might of Young Engines’ is as a garden of Eden, lost in architectural anatomies that serve as traps and hiding places. It recalls the great science fiction writer J.B
Ballard’s (1930-2009) quote: “In a totally sane society, madness is the only freedom”. In this 3-dimensional rendered ‘playing field’ of images and scenarios, ‘Might of Young Engines’ takes us on a journey exploiting sexuality, violence and elements of mystery. You will see some scenes which are looking like Tom Wesselmanns Pop Art Paintings. And the distorted prospects reminds you to El Greco. The police characters is a homage to the Tom of Finland Comics. Julius is also cited his own paintings in the film, like ‘das rote Portrait’, ‘Winterlandschaft’, ‘Sphere’, ‘Hermits’ and of course all his new paintings. The genre is not easy to describe, a bit of the ‘Rape and Revange’ Movies from the 70’s, also you will see a link to the hero action films from the 80’s and 90’s. It is also a kind of homage to the directors Dario Argento, David Lynch, Sam Peckinpah and Stanley Kubrick and his films. The Lo-fi renderings and surreal concepts give the impression of helpless characters in a world of corrupted gestures and symbols. Narratives are disrupted by other images and narratives in a video where deviance is addressed, then abandoned; rendered and then dissolved; violence erupts and then halts and get we get the feeling that all these scenes congeal to form a world of infinite madness, or as J.B. Ballard suggests, freedom.
It is no easy undertaking to assign works by the painter and filmmaker Julius Hofmann to a particular genre, medium, or subject, as familiar definitions simply fall too short. While playing with perspective, spatial illusion, and the relationship between figure and ground can surely be associated with classic visual art, Julius Hofmann dismantles the
authoritarian system of painting by employing 3D graphics and their applications, such as, for example, colour interpolation or texture and bump mapping. At the same time, he imports painterly structures and surfaces into his animation films, whereby he lends the cold digital medium an unusual vibrancy and thus creates individual visual impressions. In doing so, Hofmann does not aspire to achieve high definition perfection. In countless trials, he takes pleasure in precisely what delta debugging attempts to eliminate. Graphic flaws and fragmentary renderings serve as idea generators of the first degree. While motifs from the history of painting once constituted the boundless breeding ground for photography, film, and computer graphics, Hofmann re-imports them into his works, prompting a playful dialogue between the oldest and the most modern medium in art history.
Special thanks to Matha Colburn for her input in this press release.
Julius Hofmann graduated in 2011 from The Hochschule für Graphik und Buchkunst in Leipzig. His work is in a number of collections such as The Museum of Visual Art Liepzig, Deutsche Bundesbank and Art Collection of Sparkasse Leipzig. But also in numerous private collections such as the Olbricht collection, Essen and the SØR Rusche Collection Oelde/Berlin.