Home & Blood, Like Land & Water


 

Sunset for Fred Church, 2016, acrylic, oil, plastic tablecloths, nature calendars, Top Ramen packaging, tiki party favors, plastic bag, and photos on board, 36 x 60 x 2 inches

 

My questions around the meaning of home and land, like my paintings, are tumultuous, layered, and liquiform. My collaged surfaces are a working corporal excavation into my past, a critical observance of the history of the earth that I live on, and the unrelenting violence on the multiple lands from which my ancestors come.

 

Moonrise After Adams, 2016, oil, acrylic, interior design magazines, nature calendars, Pioneer Supermarket bags, plastic tablecloth, linoleum, and gift wrap on wood, 48 x 48 x 3.5 inches

 

During the past four years and over the course of my many moves around the United States, I’ve found myself scouring neighborhood dollar stores in search of affordable fragments of home. The nostalgia of printed plastics that permeated the landscape my Pilipinx-Jewish-American childhood continue to pervade the needs of my daily living, while my identification with these materials is inextricably linked to my memories of my intercultural working class household. Using mass-produced holiday-themed tablecloths, nature calendars, plastic bags, personal documents, and paint, I craft imaginary landscapes that are grounded in accumulation, personal narrative, and historical critique.

 

Leagues, 2016, oil, acrylic, plastic bags, plastic tablecloths, photos, nature calendars on wood panel, 48 x 96 x 3 inches

 

Concentrating on the subjects of home, nature, and borderlands, I see my domestic material experience as one that encompasses larger critical questions and deadly implications surrounding homeland, disposability, and diaspora here in the States as well as on the ground in Palestine: What is a homeland and how is it constructed or deconstructed over time? What material memory does home and blood, like land and water, hold? Whose bodies belong and whose blood does the soil contain?

 

Tiers, 2015, oil, notebook paper, golf course calendars, skin whitening soap boxes, photos, and plastic on board, 48 x 60 x 2 inches

 
 

The Brightest I've Ever Seen Them, 2016, oil, acrylic, nature calendars, plastic tablecloth, carving on wood panel, 30 x 20 x 2 inches

 

Photo credit: Adrián S. Bará

Photo credit: Adrián S. Bará

Camille Hoffman (b. 1987, Chicago, IL) earned an MFA from Yale University (2015), a BFA from California College of the Arts (2009), and was a recipient of the Carol Schlosberg Memorial Prize for excellence in painting from Yale University, a National Endowment for the Arts scholarship, a Benjamin A. Gilman International Scholarship for research in Spain, and the Van Lier Fellowship from the Museum of Arts and Design (MAD). She has exhibited her work throughout the United States and in Europe, in exhibitions including Pieceable Kingdom at the Museum of Arts and Design, New York, NY (2018), Lincoln Center, New York, NY (2017), Times Square, New York, NY (2017), Yale University Art Gallery, New Haven, CT (2015), Nuit Blanche arts festival, Paris, France (2015), and Espai Cultural Biblioteca Azorín, Valencia, Spain (2008). Current exhibitions include Excelsior: Ever Upward, Ever Afloat at the Queens Museum (through fall 2019) and Rockabye My Bedrock Bones at False Flag Projects in Long Island City, NY (Through Nov 4, 2018). Hoffman has been an artist-in-residence in numerous programs including Wave Hill, Bronx, NY (2017), QueenSpace, Long Island City, NY (2016-17), Museum of Arts and Design, New York, NY (2017), and Cooperative Arts and Humanities High School through the Yale University Office of New Haven and State Affairs, New Haven, CT (2015). Hoffman has also worked for over a decade as an arts educator and community organizer in Phoenix, the San Francisco Bay Area, New Haven, Brooklyn, and Queens. She currently lives and works in New York, NY.


Camille's art framed the stage of "Roses in Salted Soil" - the May 3rd poetry event in Harlem, NY organized as an act of solidarity with Dareen Tatour on the day an Israeli court pronounced her guilty of inciting terrorism for a poem urging her people to resist oppression.

For more information about Camille Hoffman's art, visit her Website