grasshold Ed. 2 of 5

This work was exhibited as part of the SALA (South Australian Living Artists) Festival in Adelaide for 2025 in the exhibition "Language of Flowers". While often the usual flowers come to mind when thinking of this Victorian tradition, works created for this collection instead focused on those often overlooked or forgotten plants which were still part of messages passed through the Language of Flowers.

Grass can be subversive, submissive, enduring, and pervasive. It can be an idealised symbol of urbanised life, or the creeping wild at the fringes of the forgotten, neglected corners. These works deeply interrogated explorations of inner and urban wilds, the landscapes of our inner worlds, as well as the fringes of accessible protected pockets of wilderness.

The works are hand printed by the artist using high quality fine art printers and textured awagami rice papers from hand made Japanese traditional paper makers. These works are framed carefully floating between glass in a brass frame. These images have a uniquely textured surface which can be difficult to photograph but is especially effective when viewing works in person. If you wish these works can be made wearable with an additional longer chain added to the work - this is an extra commission upon request that you will need to arrange directly with the artist (listed dimensions are standard ready to hang chain and cannot be easily worn).

Follow

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.
​
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.