« "Feeling, emotion and spontaneity are more important to me than perfection, reason and regimentation." »
In her youth, Lydia was an insightful, annoying assistant in her father's graphic design studio, always looking for leftovers to craft creative pieces.
She managed to create a solid base from the start simultaneously. The artists in her family's circle, especially the painters, inspired her, and it soon became clear that she derives full happiness from making art.
She subsequently started to engage in various forms of visual creativity due to her exploration of the environment and her surroundings, and she persists in traveling daily for new elements.
Renate Lewandowski and Jörg Immendorff taught her at the University of Design and Art in Cologne, Germany, where she was awarded a Laudation in Fine Art in 1991.
Her lively creations showcase her background as a color designer for animated cartoons. Mallorca, Spain, has been her creative hub since 1996 due to the sea, light, and social connections.
Her creations have been exhibited at art fairs, galleries, and public venues in the United Arab Emirates, Saudi Arabia, North America, Canada, Germany, Italy, Spain, Greece, Tunisia, India, and the United Kingdom.
In Lydia Hoffnungsthal's artworks, the human figure is the central emphasis. Characters are always depicted in motion. She is absorbing and contemplating a mindset influenced by expressionism along with individual and symbolic imagery. She is attracted to employing vivid and storytelling visual language, akin to the “Figuration-Libre" art movement, which arose as a reaction to the excessive rationalism of conceptual art. Additionally, she enjoys merging aspects of traditional and ancient art styles with modern allusions to daily life and subcultures, creating an ironic critique of social and cultural matters.
A consistent motif in Lydia's art is the incorporation of visual engagement to raise awareness and foster unity while conveying human rights messages about persistent oppression and inequities.
She pays particular attention to color, composition, and background structure in her abstract-figurative artworks. To achieve the highest brightness reflected from the pure white backdrop, she applies thin color glazes to enhance the strikingcontrasts of unblemished purity of the colors themselves. Employing contrasts of cold and warm colors generates implied spatial perspectives and sensations of temperature. The vibrancy of complementary colors is enhanced by each other.
The overall optical tension of the concept is enhanced through a quantitative contrast that merges differing materials such as silk, aged wood, unfired clay, bamboo, burlap, and both matte and glossy paint layers with surfaces of varying dimensions, resulting in a striking and assertive artwork.
BY SIMONA ALBANI ON 28 AUGUST 2014
Imagination runs to pick up as various as it could be combined and re-elaborated.
Sand and blades of grass find their own perfect position in the inner image in which those elements cannot avoid makingpart of it.
Jute and silk fragments dress the canvas, leading the dance of characters; everything seems to move ; the artist's paintings light up with life and nature, and thanks to the raw materials that mother earth offers, Lydia can tell her rich universe, letting space to the unlimited possibilities she has to collect the possible and the impossible.
Her stories are provocative collage , a rebel expression of a return to the origins, as if an object and image were necessarily tied to the roots of our earth .
Trees, flowers, and the sea are that priceless relationship, the power of life, that nobody should never ever let go.
