Pat Hoffie’s artistic practice has extended through exhibitions, collaborative cross-disciplinary and cross-cultural undertakings, publishing, education and advocacy since the 1970s. Trained as a painter, she also works with sculpture, installation, print media, drawing and video. Core to all areas of her practice is an examination of power, value, the importance of ‘place’ and the necessity of cultural diversity. In the 1980s and 90s, Hoffie’s interest in feminism’s critique of power and privilege contributed to a range of exhibitions, projects and publications that attracted national recognition. Her advocacy and support for women artists continues to the present through her writing, curating and commitment to projects in Australia and abroad. Since 1993, the artist has maintained a research focus on the inequities and inconsistencies of global cultural exchange through iterations of her ongoing ‘Fully Exploited Labour’ series. Informed by postcolonial analysis, her work has involved her first-hand participation in experimental practices across the region, where she has initiated and participated in a range of international projects and residencies. She has been described as “a leading figure in establishing cross-cultural dialogue with artists, collectives and colleges in the region”, and has been recognised for her contributions to the arts in Australia (AM) and for her contributions to tertiary scholarship in the visual arts (Professor Emeritus). Her artwork has been included in leading exhibitions, collections, and events in Australia and overseas.
Hoffie’s recent works reflect the deep scars of chaos and trauma that have become part of our everyday socially mediated world. Both personal as well as political, they are funny and tragic, idiosyncratic yet bound to the historical traditions of the ‘epic’.
PhD, MFA, DipT, DipFA
Solo exhibitions
2023 this mess we’re in, QUT Art Museum
2022 Hi Vis, Perc Tucker Regional Gallery, Townsville
2022 I Will Tell You Almost Nothing, FireWorks Gallery
2021 Prediction Proposals, FireWorks Gallery
2021 Timeline, Canberra Contemporary Art Space
2017 my faith don’t mean a thing, FireWorks Gallery, Brisbane
2017 Hard Anger of Love, Brisbane Powerhouse
2016 Service Industry, FireWorks Gallery Brisbane
2015 Target Practice, FireWorks Gallery Brisbane
2014 immaterial labour:skateboard/prounroom, Ipswich Art Gallery
2014 People do Have the Right to be Bigots, You Know, Canberra Contemporary Art Space
2013 you gotta love it, Artspace, Sydney
2013 Harden Up Princess, The Young, Wellington, New Zealand
2012 Stained Horizons, Slot Gallery, Sydney
2012 Disastabah, Woodford Folk Festival
2011 Kanak Labour, Queensland Centre for Photography, Brisbane
2011 War Ears, Swell Sculpture Festival, Currumbin
2010 Windwells: Channelling and Divining, at State Library of Queensland
2010 BABELproJEKT, The Three Towers, at Woodford Folk Festival 2010/11
2009 fugue for drowned memories (with Stefan Purcell), in Utopia, Dystopia, Disturbia, at Woodford Folk Festival, Australia.
2009 Harvester for Dreams of Wildness #1, Fukuoka, Japan
2009 Troop Drill, in the arc Festival, Brisbane, Australia
2008 The Pacific Solution, Te Tuhi Art Centre, Auckland, New Zealand.
2008 Carnivale Extremis, at Carnivale Collaborata, Woodford Folk Festival, Australia.
2008 Carnivale Illuminata, at Carnivale Collaborata, Woodford Folk Festival, Australia
2008 Madame Illuminata Crack’s Phantasmagorical Invention for an Ecologically Sustainable Future, UAM, Uni of QLD, Australia.
2006 Fully Exploited Labour, Survey Exhibition, University of Queensland Art Museum.
2005 Maribyrnong: No Place to Weep, Interesting Times, MCA, Sydney.
2004 drift, Institute of Modern Art, Brisbane.
2004 Soft Modernism, Esa Jaske Gallery, Sydney.
2003 Hero, Esa Jaske Gallery.
2003 Material Witness, Tamworth Regional gallery, National Touring Exhibition.
2002 Ideology and Artefact: The Faltering of Dreams, Museum of South Australia, Adelaide Festival, (2 locations).
2002 Inadequate Language, Brisbane Powerhouse.
2000 Fukuoka Art Museums City Projects, Fukuoka, Japan.
1999 Madame Illuminata Crack's Pictorial Guide to the Universe, Hanoi Institute of the Arts, Vietnam.
1998 Pigface: The forgotten spaces of my memory, Institute of Modern Art, Brisbane.
1997 a time for healing, Kong Ju Museum, Korea
1996 Teeming, Rochedale Gallery, UK
1996 Margin for Errors, Ten Year Survey Show, City Gallery, Brisbane
1996 Clean, White Man's Burden, Manchester, UK
1996 Fully Exploited Labour, Queensland Art Gallery
1995 The Australian Game, Coventry, (September)
1994 Hero Walk (5 part installation), in Adelaide Installation, as part of the 1994 Adelaide Biennial of Australian Art
1994 Kunde, in Crossovers, Tasmania
1993 Whitewash, Magazine Space, Brisbane
1993 Halo Halo, Baguio Arts Centre, Baguio, Philippines
1993 Gimme Fiction, An installation, Australia Centre, Manila, Philippines
1993 Cocons TachÛs, Australian Centre for Contemporary Art, Melbourne
1993 TalismanÛs Penguin Gallery, Manila, Philippines
1992 A Gigantic Weariness, Coventry Gallery, Sydney
1990 Veneer, Coventry Gallery, Sydney
1990 Home & Away, Institute of Modern Art, Brisbane
1989 Coventry Gallery, Sydney
1989 Contemporary Art Centre of South Australia, Adelaide
1988 Homage to the Unknown Woman, Roz MacAllan Gallery, Brisbane
1988 Pat Hoffie Residency Exhibition, Queensland Art Gallery
1987 Solo Exhibition, Roz MacAllan Gallery, Brisbane
1986 Homage to the Unknown Woman, Long Gallery, University of Wollongong
1983 The World According to Some of Us, Galerie Baguette, Brisbane
1980 Pat Hoffie, Solo exhibition, College of Advanced Education Gallery, Kelvin Grove Campus
1977 Pat Hoffie, Solo exhibition, Design Arts Centre, Brisbane
1976 Pat Hoffie, Solo exhibition, Design Arts Centre, Brisbane
1975 Pat Hoffie, Solo exhibition, College of Advanced Education Gallery, Kelvin Grove Campus
1974 Pat Hoffie, Solo exhibition, Cellars Gallery, Brisbane
Group Exhibitions
2023 Land Holds Memory, Caloundra Regional Gallery
2023 Lies Magicians and Blind Faith, QAGOMA, Brisbane
2023 Morbid Curiosities, FIreWorks Gallery
2022 Wrestlemania, Rockhampton Museum of Art
2022 The Ventriloquist’s Doll and the Field of Miracles, FireWorks Gallery
2022 Brisbane Portrait Prize (Jennifer Herd)
2021 Brisbane Portrait Prize (The Gardener)
2021 Archibald Prize, AGNSW (Visaya in a C-collar)
2000 Topographies, FireWorks Gallery, Brisbane
2020 Twelve Artists/Twelve Ways, FireWorks Gallery
2020 Brisbane Portrait Prize (PPE)
2019 Brisbane Portrait Prize (Manspreading)
2019 New Woman, Museum of Brisbane
2018 Punch the Clock, FireWorks Gallery
2012 Brother Beast #2 & 3, in Animal/Human, UAM, Brisbane
2012 Fully Exploited Labor, in Social Networking, GOMA, Brisbane
2011 Brother Beast, in Australia Felix, Crane Arts Centre, Philadelphia
2011 Animals, People, A Shared Environment, in Pop Gallery, Brisbane
2010 tendernesses in Other Misconceptions, at Level, Brisbane
2010 endgame – The End of the Mohicans, in The Oyster’s Locale, Launceston, Tasmania
2010 anting-anting The Horse Rider in Santi Bose: Remixed, Revisited, Remembered in Yuchengko Museum, Makati, Philippines
2009 365 Days of Labour, Gympie Regional Art Gallery, Queensland.
2008 Under My Skin, touring Vietnam, Taiwan
2008 Under My Skin, Ateneo University Art Gallery, Manila, Philippines
2007 Art and Human Rights, the Limits of Tolerance, Australian National University, Canberra
2007 The Diamantina Project, HMAS Diamantina, Brisbane
2006 Inter Image Three, Tokyo Gedai National University of Fine Art and Music, Tokyo, Japan
2005 Enigmatic, Shandong College of Arts, Shandong, China
2002 queue, Canberra Contemporary Art Space
2002 material witness, 15th Tamworth Fibre Textile Biennia , Tamworth, and traveling to 7 galleries in 7 states.
2001 Transit Narratives, Venice, Italy
2000 Topographies, Fire-works Galleries, Brisbane
2001 The Sports Exhibition, Ipswich Regional Art Gallery
2001 QUT Alumni Exhibition, QUT Gallery, Brisbane
2000 Topographies, Fire-works Galleries, Brisbane
1999 Wish You Were Here, Smith & Stoneley, Brisbane
1999 9 Dragon Heads, Kong Ju, Korea
1997 The Book Exhibition, Luz Gallery, Manila
1997 A Tentative Horticulture, Chongju, Korea
1997 XX, Metro Arts, Brisbane
1997 Good Grief, Institute of Modern Art, Brisbane
1996 Above and Beyond, ACCA (Melbourne), IMA (Brisbane), CACSA (Adelaide), CCAS (Canberra),24HR Art (Darwin)
1995 Mistranslated Mythologies, Kong Ju, Korea
1995 technotheologia, Monash University Gallery, Melbourne.
1995 Out of the Void: Mad&Bad Women, Queensland Art Gallery
1995 Chameleon, 20 years
1994 ‘Lorena Says: Don't Get Mad, Get Even’, site specific artwork, as part of Knowing the Sensorium, Institute of Modern Art.
1994 Hanoi/Brisbane Exchange Project, Hanoi
1994 20 Years, Coventry Galleries
1993 Working from the Wounds, Baguio Arts Festival, Baguio, Philippines
1993 Postcards from Manila, Off the Wall Exhibition, Gold Coast Gallery
1993 Political Bedrooms, Fireworks Gallery
1993 Alice Painting Prize, Alice Springs
1992 Transgenerational, Queensland Art Gallery
1992 Horizon, Gallery Constantinople
1991 The Intimate Experience, Ivan Dougherty Gallery, Sydney
1991 Pure Filth, Space Plenitude, Brisbane
1991 Instant Imaging, Queensland Art Gallery
1991 Vessel, in Frames of Reference, Artspace Dissonance Project, Australian Feminism Retrospective at Pier 3/4, Sydney
1991 Dihedron exhibition, Space Plenitude, Brisbane
1991 Against Pure War, Institute of Modern Art, Brisbane
1990 Vache (for AIDS) Site, Brisbane
1990 Shifting Parameters, Queensland Art Gallery
1990 Out of Asia, Heide Park Gallery, Melbourne, Nolan Gallery, Lanyon Homestead, Canberra
1990 King of the Mountain, Queensland Arts Council Gallery, and touring Queensland
1990 Expressions in Print Toowoomba Regional Art Gallery, and touring Queensland
1990 Black & White Show, Coventry Gallery, Sydney
1989 Intimate Drawing, Coventry Gallery, Sydney
1989 Eastern Ways, Western Means, Queensland Art Gallery
1989 Australian Perspecta, National Survey Exhibition, Art Gallery of New South Wales, Sydney
1989 Art Exciting, Museum of Saitama, Japan
1988 Works on Paper Roz MacAllan Gallery, Brisbane
1987 Seven Queensland Artists of Distinction Noosa Regional Gallery, Queensland College of Art Gallery
1986 Australian Painters of the Seventies, Queensland Art Gallery
1985 Queensland Works 1950-1985 A Survey of 80 Artists, University of Queensland
1984 Queensland Artists - Painting and Drawing, Noosa Regional Gallery
1984 Lillian Pederson Drawing Exhibition, Queensland Art Gallery
1983 Queensland Women Artists, Noosa Regional Gallery, and Rockhampton.
1982 Works On Paper, Darling Downs Institute of Advanced Education.
1982 Independent Artists, MIM Building, Melbourne
1980 Lillian Pederson Drawing Exhibition, Queensland Art Gallery
1981 L.J. Harvey Exhibition, Queensland Art Gallery
1979 L.J. Harvey Exhibition, Queensland Art Gallery
Awards/Residencies:
Throughout her career the artist has been awarded nationally competitive residencies and awards. These include overseas residencies Barcelona, Spain (Australia Council for the Arts); Manila, Philippines (Asialink); Hanoi, Vietnam (Asialink); Beijing, China (Australia China Council); Taipei, Taiwan (Taiwan University of the Arts); Fukuoka, Japan; Kwang Ju, Korea (twice – 9 Dragon Heads); Salford, United Kingdom; and residencies across Australia including in Hobart, Tasmania; Perth, Western Australia (PICA); Darwin, Northern Territory among others. A number of the artist’s projects have also received support in the form of grants and awards from arts funding authorities and public and private support.
Projects
Project-based work has been a fundamental part of the artist’s outcomes, and has been driven by three main interests:
(1) her commitment to the values of collaborative practice;
(2) her critical responses to the limitations of traditional gallery systems;
(3) her prevailing interest in issues surrounding the environment and cultural diversity.
These projects included establishing visual arts residencies: in Manila, Philippines; in Tokyo, Japan (with artist Linda Dennis) and on Teerk Roo Ra (formerly known as Peel Island) (with the Queensland Yoolooburrabee Aboriginal Corporation and Environmental Protection Agency of the Queensland Government) off the coast of Queensland.
She produced performance-events (with EPA and QYAC) on Nogoon (also known as St. Helena Island);( with Artworkers Alliance) at Fort Lytton; in Yokohama Japan; Salford, UK; in Kong Ju, Korea; and in Baguio, Philippines.
For five years the artist worked with the Woodford Folk Festival on a series of visual art projects that aimed to extend visual art productions into new sites and audiences. These projects were accompanied by publications – books, sound production, videos and a range of other documentations. They include:
Harvester for Disappearing Dreams of Wildness: https://vimeo.com/63726265?share=copy
Troop Drill: https://vimeo.com/63724711?share=copy
Carnivale Extremis: https://vimeo.com/63723417?share=copy
Teeming: https://vimeo.com/63198383?share=copy
Installation Work: https://vimeo.com/58485346?share=copy
The Stones Would Cry Out: https://vimeo.com/57674507?share=copy
BabelproJEKT: https://vimeo.com/54254927?share=copy
Madame Illuminata Crack's Phantasmogorical Armchair Invention for an Ecologically Sustainable Future: https://vimeo.com/user3005798/httpvimeocommadamilluminata?share=copy
Fugue for salvaging drowned memories: https://vimeo.com/64774546
Project Publications
2023 When Pictures Whisper Stories, Museum of Brisbane
2023 this mess we’re in, QUT Art Museum
2021 Place Matters: The Partnershipping Project (ISBN: 978-0-947335-21-2)
2017 Drawing Water (ISBN:978-1-925455-44-1)
2012 the stones would cry out: The St. Helena Project (ISBN:978-1-92216-19-9)
2011 Recognising TeerkRoo Ra: The Teerk Roo Ra Artists’ Residencies (ISBN: 978-1-921760-60-0)
2010 Windwells: Chanelling and Divining (ISBN: 978-1-921760-09-9)
2010 Utopia/Dystopia/Disturbia (ISBN 9781921760150)
2009 Planet Ueno: Musings from a Cultural Exchange Project (ISBN: 978-1-921291-777)
2008 The Peel Island Artists’ Residencies (ISBN 978-1-921291-59-3)
2008 Carnivale Collaborata, (ISBN: 0 9757021 7 3)
Publications
2017 Erehwon: from nowhere to now here, Griffith University Queensland College of Art
2014 Back to the Future: contemporary or alternative? Artlink 34(1):76-77Artlink Australia
2014 Confessions of Cultural Guilt; an all-too-brief moment in Timor Leste, Griffith REVIEW
2014 Forward: Tattoo Salon, catalogue essay, Bosz Gallery
2014 Mermaid Story, Griffith Review 42
2014 Notes to Bennett, Artlink: contemporary art of Australia and the Asia-Pacific 34 (3) Australia
2014 Snake Eyes, Griffith Review 40
2014 The Irreverent Contemporary and Radical Tradition in ‘Contemporary Asian Art and Exhibitions: Connectivities and World-making’ (C Turner, J. Webb) 109-128 ANU Press
2014 We Say: A work of Art in Griffith Review 45
2013 Mining - gouging the country, Artlink; contemporary art of Australia and the Asia Pacific
2013 Mining, Memory and Magic, Artlink: Contemporary art of Australia and the Asia-Pacific 33 (4)
2013 Point to Points: a Brisbane and Tokyo Exchange Art Exhibition, Queensland College of Art, Griffith University
2013 Response to David Pledger's Platform Paper, Platform Papers - Quarterly essays on the performing arts (37), Currency House
2013 Testing Ground, Salamanca Arts Centre
2013 The Boat Story, Griffith Review 38
2013 The Fruit Juice Factory Studio: Mixing, re-combining, getting to the essence in ‘Fragments: Another Country - Alfredo and Isabel Aquilizan’ QUT
2012 I love travel: Clues from the primal ooze, Griffith Review 37
2012 The Best in the World: On competition and cultural diversity, Griffith Review 36
2012 The stones would cry out, GU and EPA
2011 A Bay of Islands: The Vocabulary of an Unmediated Landscape, Griffith REVIEW 34: The Annual Fiction
2011 Alpha Station/Alphaville: Luke Roberts, Artlink 31(1)
2011 Brother Beast #1 and #2, Australia Felix, Octivium Press
2011 Do not push the river, it will flow by itself, Shared Vision, Wspolna Wizja, Octivium Press
2011 Singapore Biennale 2011, Open House, Artlink 31(3):
2010 Art, Labour, Love, Art Monthly Australia 2010 (231):23-
2010 BABEL proJEKT (The film)
2010 Book review -The Revolutionary Century Art in Asia 1900 to 2000, Artlink 30 (4):66-
2010 Here and There, Slot Gallery, Redfern
2010 Tiny Little Wonderful Worlds, Queensland College of Art
2010 Utopia/Dystopia/Disturbia, 70-85 Griffith University, Urban Art Projects, Queensland Folk Federation
2010 Planet Ueno: Musings from a cross cultural exchange project, Griffith University
2009 Resurrection on the shorelines: A short speculation on the role of islands as metaphors in the twenty-first century, Junctures12:9-207 Otago Polytechnic
2009 The Brisbane Line, QAG
2009 The Peel Island Artists' Residencies
2009 The bulul and the economy of patience (Musings on sustainability through contemporary art in the Philippines), ‘Interventions in the Public Domain’ ACUADS 2009
2009 What Would You Do? Artlink29(2):51Artlink Australia
2009 William Kentridge: Between chance and environment, Artlink29(3):46-
2008 Beyond the Temples: The way of idiosyncracy, Artlink28(4):28-31Artlink
2008 Carnivale Collaborata, Woodford Folk Festival
2008 Figuring Landscapes (co-author Hoffie)
2008 Global Ti(ra)des NAVA Quarterly4(8):12National Association of the Visual Arts
2008 Making it Modern - The Watercolours of Kenneth McQueen Artlink28(1):99-100Artlink
2008 Martin Smith's First Cut Photophile (82):34-37Australian Centre for Photography
2008 Under My Skin,Shandong Anniversary Exhibition QCA
2008 When Boundaries Flicker Figuring Landscapes49-58International Centre for Fine Art Research and Camberwell College of Arts, University of Arts
2006 Clifford Frith: Perpetuating the Bloodlines Artlink26(4):46-51Artlink
2006 The South Project Keynote address- Santiag
2006 Panel presentation 15th Biennale of Sydney - Zones of
2006 Stories to tell: the Bentinck painters Artlink26(4):20-23Artlink
2005 The Old Magic: Elders of the Artworld (co-editor with Stephanie Britton) Artlink
2005 A New Tide Turning: Australia in the Region, 1993-2003 in Art and Social Change: Contempory Art in Asia and the Pacific, Caroline Turner (editor), (pp 516-541) Pandanus Books
2005 Echoes of Home: Memory and Mobility in Recent Austral-Asian Art Artlink25
2005 Justice, Terror and the Keepers of Collective Memory, The Australian October:11-12News Corp
2005 Mark Adams and the Politics of Pe'A, (Co-Author P Ahrens)Eyeline57:38-40 Eyeline Publishing Ltd
2005 Material Evidence: Jenny Watson Works on Fabric 1981-2005 Griffith
2005 On a Roll: Art and Social Justice Catalogue essay - Impress printmakersSpring:11-14 Art Factory Gallery
2005 catalogue essays for Future Tense Exhibition Spring:11-12, Queensland College of Art
2005 QPACifika: On the importance of being present catalogue essays for the QPACifika events and exhibitions :11-14QPAC and QCA
2005 The Sheila's Biennale, Artlink25(3):40-41Artlink Australia
2005 The art of Fiona Hall, Artlink, Contemporary Art Quarterly25(2):91-
2004 Art and Human rights in the Asia-Pacific: The Limits of Tolerance in the Twentieth Century. co-authors Hoffie P, Turner DC, Neale DM, Webb J. National Research Collaborations
2003 Art and Human Rights, catalogue essay
2003 Nalini Malani: Hamletmachine in ‘Witnessing to silence: art and human rights’ http://hrc.anu.edu.au/monographs
2003 Witnessing to silence: art and human rights n/a:41-45 Humanities Research Centre, ANU (co-authors Hoffie PE, Caroline Turner and Nancy Sever (Editor)
2003 Nor all thy piety nor wit; Art as witness in “Witnessing to Silence: Art and Human Rights” Humanities Research Centre, Canberra.
2003 Santiago Bose: Magic, humour and cultural resistance in ‘Witnessing to silence: art and human rights” Humanities Research Centre, ANU
2002 Ideology and Artefact: The Faltering of Dreams, statement for the Adelaide Arts Festival
2002 Inadequate Language, catalogue writing, Powerhouse, Brisbane
2002 Material Witness: 15th Tamworth Textile Biennal
2002 queue
2001 Transit Narratives
2000 Beyond the future: Papers from the conference of the 3rd Asia-Pacific Triennial of contemporary art (essay) Queensland Art Gallery
2000 Fukuoka Art Museums City Projects, catalogue essays
1999 Spatial Eclipses/Temporal Anchors, QCA Art Gallery, Griffith University
1994 A Dysfunctional Tarot, catalogue essay, Penguin Galleries, Manila
1994 Accounting for Fun, Art Monthly Australia67:23-24
1994 Corace, (essay) Coventry Galleries, Sydney
1994 Lorena says: Don't get mad, get even, (catalogue essay) Institute of Modern Art
1994 Over the Top: Tall Tales and True from the Legendary Present, Art Monthly Australia 72:18-19
1994 Roberto Villanueva in ‘Adelaide Installations’1:42-43Art Gallery of South Australia
1994 The Politics of Misinterpretation, Art Monthly Australia74:7-9
1994 The Second Coming of Jean Baudrillard, Art Monthly Australia70:13-14
1990 In Praise of Being There. A catalogue essay dedicated to those for whom catalogue essays are not so important (under the pseudonym eFFemera PHax) IMA
1989 “No Home for the Brave. A Look at Nature, Culture and Gender: Post Colonialism and Post Modernism in the Antipodes”, pp 6-8 in Broadsheet, Contemporary Art &Culture, vol 18, No 1, March 1989