Contest 9 – Winner's Interview – Dominique Hoffer

Please tell us about your journey as an artist.

From my childhood, I have kept the memory of many illustrated tales – those magical, enchanting stories whose illustrations I used to carefully copy.  Today, I imagine my own fabulous tales, which I try to bring to life on canvas.  This process fills my days and nights; daydreams are an abundant source of invention, revision, exploration, and refinement.

When the image begins to take shape in my mind, I place a blank canvas on my easel.  I gaze at it, diving into the whiteness of its surface, waiting for it to tell me, in turn, the story I envision…

I choose the size of the canvas according to the subject and the number of details the narrative requires.

My settings are almost always outdoor scenes – even though I myself am quite home-loving, as painting demands.  Forests – all kinds of forests – have always held a deep fascination for me.  A large collection of photographs of greenery, ancient forests, forests from around the world, as well as characters, objects, and animals, fills the drawers of my little secret cabinet!

The subjects must necessarily stand in contrast to one another; they coexist on the canvas but would never meet in real life – hence the fairy tale! Like a theater stage, I arrange photo collages on the blank canvas, made up of various characters, animals, vehicles, and objects.  I spend hours selecting them, making quick sketches on loose sheets, eliminating most of them. Once my decision is made, I begin sketching each element in pencil, altering the characters entirely – keeping only their posture and proportions.  I aim for precision in the depiction of animals and objects, while blending different settings together.

I am a devoted admirer of Hieronymus Bosch and Bruegel!

When the drawing is complete, I begin to paint.  It takes three to four layers of paint to reach the desired result.

There is always a moment when I know it is finished – the story is complete, everything aligns with my original vision.  That’s when the title emerges.  I aim to invite the viewer into a world that is uniquely their own – so that they, too, can reinvent their own story.

What is your medium and why did you choose it?

My primary medium has always been oil on linen canvas. I chose oil paint because of its incredibly rich and vibrant colours, which allow for a deep, expressive visual language. One of the most compelling aspects of oil is its ability to build up multiple layers, creating a sense of depth and luminosity that other mediums often lack. This layering, combined with the medium's natural transparency, offers a unique way to convey atmosphere and subtle emotion.

Although oil paint requires a long drying time—which some might see as a drawback—I actually embrace this characteristic. The extended drying period allows me to work “in the fresh,” blending and reworking the paint directly on the canvas over time. This flexibility is essential to my process, giving me the freedom to explore, refine, and let the painting evolve organically.

What was the inspiration behind this work?

I wanted to place a few figures inside a forest as a way of staging different moments in time. The figure on the left and the woman on the right are contemporary, while the woman in the long skirt belongs to an earlier era (early 20th century). She holds a long staff from which a pocket watch is suspended — the watch’s motion is clearly visible — and she stands in front of a Mercedes of the same period. This juxtaposition of characters and objects is my way of reviving and reassembling the past, hence the title “Le passé recomposé”.Visually, I like to play with opposing forces: the strict verticality of the tree trunks set against the horizontal sweep of the branches that carry the subjects. The composition is meant to suggest how memory and time intersect and overlap within the landscape.

Who is your favourite artist? Why?

One of the artists who inspires me most is Pieter Bruegel the Elder, the great Flemish Renaissance master of the 16th century. I am captivated by the abundance of detail and the precision with which he observes everyday life. Whether it’s a bustling village scene, a winter landscape, or a crowded festival, Bruegel fills his canvases with countless small actions and gestures that reward careful looking—each detail contributing to a larger, often ironic or moralizing narrative.I admire his ability to combine keen social observation with a profound humanity: his peasants are neither idealized nor mocked, but presented with sympathy, humor, and complexity. His compositions balance sweeping landscapes and intimate tableaux, guiding the viewer’s eye through layered stories that unfold with each viewing. Works like The Peasant Wedding, Hunters in the Snow, and Children’s Games show his range—from vivid communal life to contemplative nature—and his talent for making universal statements through local scenes. Bruegel’s mix of technical mastery, narrative richness, and subtle social commentary continues to inspire me; his paintings reward curiosity and make me look more closely at the world around me. A few years ago I was able to see some of his works at Galerie De Jonckheere in Geneva, and I experienced them with great emotion—an encounter that has stayed with me ever since.