Art Saint Louis "Varsity Art" Artist Q&A Series Four

Art Saint Louis is pleased to present our fourth in our “Varsity Art” Artist Q&A Series highlighting artists who have participated in our annual show in years past.

In 1995, we created our unique “Varsity Art” exhibit with the goal of highlighting undergrad and grad level student artists who were studying in the STL region’s many colleges and universities. In the 25 years that we've presented this exhibit, we've had the great privilege of working with over 700 collegiate art students as well as hundreds of art faculty. This year's 2020 presentation of “Varsity Art XXIV” featured works by 40 undergrad and grad level art students representing 20 area universities and colleges in Missouri and Illinois.

For our fourth "Varsity Art" Artist Q&A we are honored to feature artists Craig C. Hoffmann and Jina Hyun.

Our ongoing gratitude to all of our participating artists and to ASL Staffers Roxanne Phillips and Robin Hirsch-Steinhoff for their continued work on our Art Dialogue Blog.
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CRAIG C. HOFFMANN
Craig C. Hoffmann. (front view & back view) “Réceptivité.” 2018. Low-fire Clay, Hand Coiled, and Stone Burnished, 25”x12”x8.5”. $1,700.

Craig C. Hoffmann received his Bachelor of Fine Arts from Maryville University, St. Louis in 2008. Continuing with his direction in fine art, he received his Master in Fine Arts from Fontbonne University, St. Louis in 2010. His current works focus on ceramics that are painstakingly handcrafted using Native American coiling traditions spanning from traditional to elegant organic abstract compositions inspired by architecture and nature. Hoffmann currently resides in Wentzville, MO and works out of his home studio. He teaches ceramics at St. Charles Community College, in Cottleville, MO, and studio and lecture courses at Lewis and Clark Community College in Godfrey, IL.

Artist and art educator Craig C. Hoffmann.

Roxanne Phillips: You participated in the 2007 “Varsity Art XII” exhibit. How has your aesthetic evolved since this time?
Craig C. Hoffmann: The basis of my work has always been to create something reflecting my inspiration from nature exuding a strong beautiful characterization. When I exhibited in “Varsity Art XII,” I had submitted two works that reflected nature and content within the human that are only viewed microscopically that were completed in a 2-d format, oil on canvas. They were something beautiful and unknown to most viewers. Today my work evolves around ceramics, inspired by architecture and natural organic forms. I enjoy creating structural-like forms observing balance while altering the form of familiarity with the end goal of a beautiful object, but in a 3-d format constructing with stacked coils of clay.

Craig C. Hoffmann's Wentzville ceramics studio.

RP: How has your studio practice changed since graduating?
CH: It has changed drastically. When attending undergrad and graduate school, you are constantly creating to meet instructor’s deadlines. Since graduating and becoming an artist and art instructor, working in the studio can be challenging at times. In order to feel motivated, I must be organized. It allows me to think freely without interrupting my thought process, so my class work must be complete before I begin.

Ceramic artist Craig C. Hoffmann at work in his home studio.

The other issue after graduating is having studio space. Creating a ceramics studio in my home is something that has taken years, but that is mostly because of the cost. My studio is sufficient in that I can complete all my works without external assistance, but there are few more additions that I would like to add to make it complete.

Craig C. Hoffmann's Wentzville ceramics studio.

As an instructor, you have to learn to dedicate yourself to working in the studio. Most of my work is created during the morning to afternoon hours during the week and on weekends. Beginning work in the studio during the morning warms me up so that by afternoon I feel the most creative.

RP: What advice would you give to current art students?
CH: Know that achieving a major in art is not an easy task. You must always be accepting of optional mediums and indulge yourself to the fullest within each discipline you partake in. As an art student, one must explore all the varied options with mediums as it can possibly lead your interests to change. If you do not, you may not find your true self. After all, that is what the journey is all about. You must trust that the knowledge you gain throughout the process will guide you to your future and create comfort and confidence in yourself.

Craig C. Hoffmann. (front view) “Untitled.” 2019. Low-fire Clay, Hand Coiled, and Stone Burnished, 21”x18”. $3,200.

Craig C. Hoffmann. (back view) “Untitled.” 2019. Low-fire Clay, Hand Coiled, and Stone Burnished, 21”x18”. $3,200.

RP: How has your subject matter changed?
CH: It has changed drastically with form and scale. My earlier works were a comfortable size, about 10-12 inches in height and width. My recent works are focused towards larger scale utilizing attractive unseen line quality focusing on nature and architectural-like forms. With ceramics, vase forms can become predictable, so it is always challenging and a joy to bring something new and fresh in hopes to attracting an audience.

Craig C. Hoffmann. (front view) “Untitled.” 2019. Low-fire Clay, Hand Coiled, and Stone Burnished, 21”x18”. $3,200.

Craig C. Hoffmann. (front view) “Untitled.” 2019. Low-fire Clay, Hand Coiled, and Stone Burnished, 21”x18”. $3,200.

RP: If you are now working in academia, what do you do? How has your experience as an art student influenced how you approach interacting with current students?
CH: I am an adjunct instructor at Lewis and Clark Community College teaching Design I and II and adjunct as well at St. Charles Community College where I teach all levels of Ceramics.

In class, I tell my students, “dedication, dedication,” that is the only way you will succeed. Always try your best to work out solutions and seek outside influence other than relying solely on your own. Influences are what keep the art world creating. Also, understand that mistakes will be made, unfortunately it’s a part of the process. If anything, we gain knowledge from them. Mistakes will never cease, learn from them and move on. Just remember to explore all options and never give up. You never know what your next mistake may be that could change your works outcome for the better.

Learn more about Craig C. Hoffmann: http://www.craigchoffmann.com/

JINA HYUN

Stepping away from the story-arch structure of film, Jina Hyun is video artist working in the genre of experimental, non-narrative, and poetic documentary to explore the formal elements of filmmaking with an emphasis on the self-contained rhythm. Without an exhaustive narrative composition, she believes the viewer is actuated to interpret the didactic components of the film––that is the content which creates the film––into their own abstracted, personal interpretation of it––the context reaped from viewing the film. Jina participated in the 2020 "Varsity Art XXIV" exhibition and represented Sam Fox School of Design & Visual Arts, Washington University in St. Louis, where she is currently a B.A. Candidate in Art (class of 2021) with an emphasis on Film & Media Studies / Studio Art / Art History.

Jina Hyun. Video still: “Opus No. 1.” 2019. Video Installation. NFS.

Roxanne Phillips: What advice would you give to current art students?
Jina Hyun: It’s easy to feel like giving up on your studio practice given the current socio-political and economic climate, and this is completely justified. Lots of studio practice, especially those grounded in fine art, requires equipment that is difficult to find if not provided. As students, we rely heavily on the setting we are given by our academic institution and the fact that we may not be able to return there is a daunting presence that weighs heavily on our creativity and drive for production.

I have witnessed so many of my peers who are beyond talented in their respective fields come to a grinding halt producing art––I am no exception to this. When there is no critiquing audience, no guidance, a lack in material, setting, and drive, it’s safe to stop making. Taking a break or taking a step back from your work is important but my advice is not to let it last too long. Although it doesn’t feel like it, our position as young-adults and students offer us a unique perspective in understanding social affairs, relationships, and self-introspection. Don’t be afraid of creating work that is not worthwhile. Don’t be threatened by the limitations––challenge those setbacks and make something the defies that. Artist have always been rule-breakers and some of the most revolutionary work and movements have emerged out of destitute settings. As a mentor of mine has said before: every great piece of work started with a shitty first draft. Embrace that shitty draft, nurture it, grow it, and see where it takes you. You might be surprised with the outcome.

Jina Hyun. Video still: “Opus No. 1.” 2019. Video Installation. NFS.

RP: What is the most challenging aspect of being an emerging artist?
JH: One of the most challenging aspects of being an artist is finding a controlled space for production. As art students in the final years of undergraduate education, many of us question what the next step is to “being an artist”.

Safe to say that none of us have had a groundbreaking work or idea that ruffled the timeline of contemporary art (yet) and we are facing two major paths––graduate school or not graduate school. It seems like many of us have this idea of going to graduate school as a backburner because it’s another safe space to justify and continue art production.

It’s scary to imagine going out to some foreign city, getting a studio space there and simply start making work that hopefully pays your rent––at the setting of school, it’s safer being in production with an institution backing you up. I think that the challenge is really grounded in asking yourself what you want versus what you fear, then taking that bold move towards the unknown. As emerging artists, my cohorts in the art school have great dreams of moving out of the country to somewhere completely new and starting our studio practice there (even if it’s only for a couple of months). We are hoping that we will be able to come out of that experience better informed, having taken a step away from academia and reflection on ourselves.

Jina Hyun. Video still: “Opus No. 2.” 2019. Video Installation. NFS.

RP: When we are in school there’s a built-in community of other artists - some artists find their studio time very isolating, others not. Do you find it necessary to have an art community?
JH: I find that artist tend to isolate themselves during the production of their work––after all, a work of art is an intrinsically personal expression (no matter how social the artwork maybe). It’s easy to get lost in your own work––your own subjectivity becomes the backbone of that work which can make
a.    an incredible and developed piece (or in many of our cases as student artists),
b.    an intangible piece that is hard to decipher but seems extremely personal to the maker and a touchy subject to critique upon.

I believe that the chunk of our experiences as underclassmen in the art school is like this and it isn’t until junior year when students get filtered into their own “groups” (as fine art students, as sculpture concentrates, printmakers etc.) that we can truly appreciate having a community of artists. Your peers change, your mentors change. These people become your people, people who know and have experienced you and your art. They know how to respect it and critique it, and help you become a better artist selflessly.

Being an artist, especially an emerging one, can be a truly isolating and lonely experience. But having this cohort of fine artists has been a fulfilling and valuable one for me––I wouldn’t trade this specific group of people for the world. I find it extremely frustrating when trying to talk about my experience and perspective of the world as an artist to a (simply put) non-artist. There is no doubt that many outsiders of the art world are quick to undermine and devalue our voice, singling us out as “out of touch with reality, ditzy, non-pragmatic”––upholding the stigma attached to artists. In times like this, it is essential to have your voice heard and not stifled. Having a group to turn to is important in your development as growing artists.

Jina Hyun. Video still: “Opus No. 2.” 2019. Video Installation. NFS.

RP: Schools provide most large equipment for art processes allowing students to experiment -what equipment or tools have you found are necessary in your current studio? Have you found limitations in your art making by lack of equipment or how have you worked around these limitations?
JH: Primarily as a video artist, my dependence on studio space, lighting, and equipment has been indispensable with my production. During this time where many artists don’t have access to such material, I believe that it is up to the individual to come up with alternatives to continue working. Of course, this mindset is more forgiving to certain fields compared to others––I have printmakers who are stunted without the aid of a printing press or emulsion lab, sculptors who don’t have ventilation rooms for toxic materials.

As for my independent work, I have been emphasizing my work in the post-production process and editing––the work is reliant on my computer and Adobe Premiere has been doing the hard lifting: keeping up with my incessant stacking and cross visual editing. Although at times my laptop feels like it’s going to explode and I am afraid that the internal fans are going to break from the amount of processing power editing takes, I found that I love creative editing and video collage which I hope to work with further in the coming academic semester.












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