Drēogan (to endure) Ed. 1 of 5

Drēogan (from Old English - meaning "to Endure") was shot in Maitpangga which was a place of significant travel for the Kaurna, Ramindjeri, Ngarrindjeri, and Peramangk peoples. Known commonly now as Myponga, it is a reserve for nature, critical water, and wildlife. The image explores the importance of mistletoe, an organism which depends on cohabitation in order to survive, which is spread by being eaten, and which settles on a host tree to sustain it's life. The mistletoe then mimics the host plant, and when the tree is strong enough the semi-parasitic mistletoe can coexist without significantly damaging the host. In contrast, lichen have a symbiotic relationship with the plant they live on. The work orients us to look more closely at the dynamics of nature around us and consider the impacts of our actions as part of ecosystems.

This work was exhibited in the Weather-ing Exhibition for SALA (South Australian Living Artists) Festival in 2025. The exhibition explored the Japanese philosophy of "climate" or "Fudo" by Tetsurō Watsuji which focuses on the interconnection of culture, climate, place, and the environment. The exhibition explored the accessible wilderness nestled amongst our urbanised places, the places of inbetween-ness, but where we as humans are still very much a part of the ecology that continues to endure. We shape the world around us with our actions as much as we are shaped by the environment within which we inhabit. Images for this exhibition were shot from journeys to Port Lincoln and nearby Kaurna Country (Adelaide) Australia.

This work is hand printed by the artist on fine art matte paper allowing for stunning depth in the image and would suit framing behind museum quality non-reflective surfaces if possible.

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As a photography based contemporary artist, Hoffrichter is a research led practitioner working in experimental installation and interdisciplinary media. Her work often inextricably involves the viewer as an active participant in order to challenge the dominant power dynamics of spectatorship and traces lineages which tangle our contemporary realities. Drawing on surrealist strategies and phenomenological philosophy, she renders the familiar unfamiliar, revealing new perspectives on landscapes, gestures, and rituals that structure everyday life. Symbolism drawn from nature—plants, phenomena, and recurring motifs of red as distress or protection—anchors her exploration of the ‘unseen’. Her projects navigate inner and outer worlds, from “natural” to constructed environments, while considering the colonial legacies and cultural mythologies that frame them.

A sustained interrogation of identity, ethics, and power underpins her work. Collaborative projects explore dual perspectives, while Lacan’s theories of the gaze inform her approach to destabilising spectatorship. Many works “look back” at audiences, unsettling the one-way dynamics of viewing and questioning complicity embedded in acts of looking. Photography itself becomes a site of ethical inquiry: the politics of representation, responsibility, and image-making. Through research-led projects, Hoffrichter situates her practice within discourses of decolonisation, feminist critique, and environmental ethics, informed by writers such as Sara Ahmed, Susan Sontag, and Linda Tuhiwai Smith. Her works invite audiences to slow down, attend, and reorient—to reconsider what is within reach, what is excluded, and how our ways of seeing shape the worlds we collectively create.
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Her practice is highly experimental and often challenges the limitations of materials or technologies. While her practice is deeply influenced by the traditions of photography, her work extends into multimedia installations where specific objects hold significance in the work and often relies on the participation of a viewer.

Each work is hand crafted with time and care by the artist.