Already as a little girl Lydia was a curious annoying assistant in her father's graphic design studio, always on the lookout from the leftovers to conjure up creative art pieces.

At the same time, she was able to build up a solid foundation early on.The artist friends of her family, especially the painters, then inspired her and it soon became clear that creativity makes her completely happy.

The exploration of the world and my environment then started her moving any kind of visual creativity and is still on tour daily searching for new elements.

In 1991 she graduated in Fine Art at the University of Design and Art in Cologne, Germany with a Laudatio having been a student of Renate Lewandowski and Jörg Immendorf.

Having worked as a color designer in animated cartoons, this background is evident in her vivid artworks. Since 1996 due to light, nature, the sea and social bonds her Center of creation is Mallorca Spain.

Her works have been featured in the United Arab Emirates, Saudi Arabia,North America,Canada, Germany, Italy, Spain, Greece and the United Kingdom on Art Fairs, galleries and public spaces.

 

The human form serves Lydia Hoffnungsthal as the primary subject in her paintings.Characters are always captured in motion. She is receiving and reflecting a thought-process which is partly rooted in expressionism and in an individual and symbolic imagery. As in the "Figuration-Libre" painting movement, which came into being as a reaction to the over-rationalism of conceptual art, she is drawn to using vigorous and narrative pictorial language in which she likes to combine elements from traditional and archaic artforms with modern references to daily life and subculture, arriving at an ironic critical social and cultural imagery.

By creating visual interest, a returning key in Lydia´s art works is promoting solidarity and awareness by conveying human rights messages against persisting inequalities and various forms of oppression .

In her abstract-figurative styled art works she places particular emphasis on colour, its composition and the structure of the background.Therefor she aims for strong contrasts of unsullied purity of the colours-by-themselves, further strengthened by the use of thin color glazes to achieve the strongest possible luminosity reflected from the pure white background. Suggestive spatial perspectives and temperature sensations arise from the use of cold/warm color contrasts. Complementary colors reinforce each other's luminosity.

A quantitative contrast, using different-sized color surfaces in combination with contrasting materials such as silk, aged wood, unfired clay, bamboo, burlap, matt- and glossy coats of paint, generate maximum optical tension in the overall concept. Resulting in a forceful and decisive artwork.

 

BY SIMONA ALBANI ON 28 AUGUST 2014

Not only canvas and colors for the artworks of this cheerful and creative artist.

Imagination runs to pick up as various as it could be combined and re-elaborated.

Sand and blades of grass find their own perfect position in the inner image in which those elements cannot avoid to make part of it.

Jute and silk fragments dress the canvas leading the dance of characters; everything seems to move; the artist’s paintings light up with life and nature and thanks to the raw materials that mother earth offers , Lydia can tell her rich universe, letting space to the unlimited possibilities she has to collect the possible and the impossible.

Her stories are provocative collage, a rebel expression of a return to the origins , as if ant object and image were necessarily tied to the roots of our earth.

Trees, flowers and the sea are the that priceless relationship, the power of life, that nobody should never let go.