Hale Ed. 1 of 5

Hale (Old English meaning " Sound", or "Safe") 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 using professional photographic printers and hand made Japanese Awagami rice papers. This work is available framed upon request - photographs of the work shown are in a vintage frame with no glass. This rice paper is flecked with natural fibres so there will be a slight difference in surface between each edition.

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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.