Painting or photography? That is the question that inevitably arises when one views the works of Philipp Hofmann with their fine, painting-like structure, which is very evocative of brush strokes.
Quite clearly, it is a convergence of two artistic worlds: the world of oil painting and the world of photography, which is the actual medium of Philipp Hofmann’s art.
The manifold facets of painting have seemingly been exhausted in the history of art; similarly, the modern technique of photography has hemmed in the individual artistry of the photographer to an increasing extent. Against the backdrop of such developments, Philipp Hofmann has integrated a new approach to photography into his works, an amalgamation of the two art forms in which painting does not imitate the capabilities of photography: instead photography borrows the tactile and compositional expression of painting – the inversion of photorealism.