Eric Hoffmann’s works on paper (watercolors) are an examination of what he refers to as “Objective Minimalism.” Since 1969, the wall, along with other architectural elements, has been the central theme in his work, undergoing a metamorphosis over time. Whereas his earlier work was more realistic, the wall has now become increasingly reductive, despite the detailed brick work. The pieces are both minimal and abstract in nature. Though the works could be seen in an architectural framework, they were never meant to be architectural renditions. Architecture is used only as a means to examine abstraction and minimalism simultaneously. Language, in the form of titles, plays a major role in Hoffmann’s drawings. If the works are untitled, the drawings could be viewed as pure abstractions. The titles, e.g., Wall Series No. 1, 2, 3, etc., focus the viewer’s understanding on the objective aspect of the work.
For a long period of time, Hoffmann’s work concentrated obsessively on the square composition (20” x 20”), due to the challenges of creating tension with all sides equal. Beginning in 2012, he became preoccupied with exploring mostly vertical and horizontal compositions. Since December 2014, he has returned to working exclusively with the square. Along with this transition back to the square, he continues to be involved with largely monochromatic work; very few pieces have included the use of color. His use of math and a grid system of late play an essential role when determining composition, regardless of shape or size. To summarize, lines, shapes, tones, and repetitive details are the components he now employs to draw the viewer into a more reticent and radical world.