"Hoffmann's figures inhabit states of sustained tension and accumulating pressure, sedimented in the threshold between endurance and action. No longer performing exaggerated gestures of desire or grotesque theatricality, the subjects embody the physical intensity and psychological fatigue engendered by an age of information overload."
"Sill, the exhibition's title, frames this shift and operates as both metaphor and site. Architecturally, a sill suggests a ledge—a place of pause and rest, but also of voyeuristic consumption. Geologically, it refers to a sheet of magma that intrudes into existing rock, cooling and solidifying in place."
"The exhibition is grounded in the concept of acedia, an ancient term describing existential weariness where presence persists but is destabilized. It denotes a condition of wakefulness through endurance, a suspended potential where action remains conceivable yet cannot unfold."
Cathrin Hoffmann's solo exhibition Sill presents new paintings and sculptures examining states of physical intensity and psychological fatigue in contemporary life. The works feature figures inhabiting sustained tension and accumulating pressure, moving away from exaggerated gestures toward radical passivity. A formal shift toward monochromatic reddish-brown tones—from dark ochre to rust and clay—dominates the palette. The title Sill operates as both metaphor and site, referencing architectural ledges and geological magma intrusions, evoking sedimentary layers. Sandy, coarse surfaces resist digital consumption's speed. The exhibition engages the concept of acedia, describing existential weariness where presence persists but remains destabilized. Concrete sculptures compress movement into stasis, registering psychological strain through twisted limbs and inverted forms.
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