As March draws to a close, we’re taking a moment to celebrate the continued recognition of Pat Hoffie AM across multiple leading publications.
She has been recognised in Art Collector, listed as #38 in 50 Things Collectors Should Know for 2026. The feature, written by Louise Martin-Chew, highlights her recent exhibition at QAGOMA 'I have loved/I love/I will love' and the ongoing significance of her practice.
PARKER Contemporary is also pleased to be included within the same issue of Art Collector.
If you haven’t already, don’t forget to pick up a copy of Art Collector's Jan-Mar Issue 50 Things Collectors Should Know, or available online.
@artcollectormagazine@pathoffie_
Pat Hoffie uses analogue printing processes to slow the accelerated pace of digital media and the relentless stream of images showing the impacts of war, registering the scars, ruptures, and exhaustion embedded in acts of witnessing.
Hoffie’s installation for ‘All the World’s Memories’ invites viewers into a more intimate encounter with these images, inviting reflection on how we see, remember, and are shaped by visual violence.
Don’t miss this poignant work on display at UNSW Galleries until 3 May.
Photo: Jacquie Manning
If you’re in Bidjigal and Gadigal Country (Sydney) please take time out to check out my “The Yellow Line ( The Recreational Laboratories of Fear)” as part of Jose Da Silva’s “All the Worlds Memories” at UNSW Galleries. Up til May 1
In ‘All The World’s Memories,’ ten artists from Australia and Aotearoa/New Zealand explore how human experience—and its recollection or record—is produced, held, and challenged through images, objects, and materials.
Their projects invite us to consider how art reflects how memory can be seen and understood.
📍 Visit the exhibition:
Wed–Fri 10am–5pm
Sat–Sun 12pm–5pm
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1. Pat Hoffie, ‘The Yellow Line (The Recreational Laboratory of Fear)’ 2025. @pathoffie_
2. Nic FitzPatrick, ‘Signs (Descendence)’ 2025.
3. Grant Stevens, ‘Feelings’ 2024. @grant__steve
Photos: Jacquie Manning
VAULT: Issue 53 out now with a superb cover featuring Shaun Gladwell’s Venice-inspired work for Melbourne’s Di Stasio. I’ve written about Jemima Wyman’s survey show to reopen QUT Art Museum next week, and Pat Hoffie’s new work for ‘All the World’s Memories’ at UNSW Galleries, opening Sydney Friday 13 February. VAULT’s scope is broad — national and international — and always engaging. This one very special with a tribute to the late Ashley Crawford, an interview with Hans Ulrich Obrist (The Serpentine, London), New Zealand’s Fiona Pardington, Sis Cowie, Hany Armanious, John Prince Siddon, Jessica Murtagh, Jacky Redgate, Ema Shin, Lottie Consalvo, Dries van Noten, Amy Lawrance.
@vaultartmagazine@jemimawyman@qutartmuseum@pathoffie_@unswgalleries
My exhibition “The Yellow Line (The Recreational Laboratory of Fear)” opens as part of Jose Da Silva’s “All the World’s Memories “ at UNSW Galleries . Sydney tomorrow night (Friday 13th) . The installation responds to issues surrounding the “Yellow Line” that now partitions Gaza into monitored zones while “invoking printmaking’s historical role in bearing witness to violence and injustice”. (Jose Da Silva, cat. “All the World’s Memories”)
As January draws to a close, so too does Pat Hoffie’s powerful and deeply moving exhibition 'I have loved / I love / I will love' at QAGOMA curated by Grace Jeremy. If you haven’t yet seen it, make time before it closes on February 1. This is work that lingers long after you leave the gallery.
Hoffie’s practice continues to resonate across the east coast of Australia, with works currently on view in 'Good as Gold' at Rockhampton Museum of Art curated by Jonathan McBurnie, Tessa McIntosh and Shanna Muston, and soon to be included in the group exhibition 'All the World’s Memories' at UNSW Galleries, Sydney, curated by José Da Silva from 13 February. These presentations speak to the depth, urgency, and enduring relevance of Hoffie's work within contemporary Australian art.
Images 1 - 6: Installation views of 'I have loved / I love / I will love' at QAGOMA
Image 7: The Strip (Bird-Man and Pinioned Dove-Woman) 2024, in Good as Gold, Rockhampton Museum of Art. Photos by PARKER Contemporary.
@qagoma@rockhamptonmuseumofart@pathoffie_@unswgalleries
✨ Our 2026 program begins on Friday, 13 February with ‘All the World’s Memories’ featuring the work of ten artists from Australia and Aotearoa:
Fiona Clark / @tikorangicameraclub
J Davies / @jdavies.studio
Nick FitzPatrick
Matthew Harris / @matthewharris___
Pat Hoffie / @pathoffie_
Ana Iti / @ana_iti
Zac Langdon-Pole / @zaclangdonpole
Lillian O’Neil / @lillianoneil
Grant Stevens / @grant__steve
Desmond Woodforde / @mimili_maku_arts
The exhibition spans the entire gallery, engaging the idea of memory as something unstable, embodied, and alive. Here, artists have a hand in the work of remembering, questioning the authority to decide what is remembered or lost in the act of preservation, and whether human memory can ever be universal or neutral.
Curated by José Da Silva
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Images:
1. Pat Hoffie, ‘Kids in a burnt out car’ 2025 (detail). Courtesy the artist
2. Zac Langdon-Pole, ‘Translatio Studii (Revisited)’ 2025. Courtesy of the artist and STATION, Sydney/Melbourne
3. J Davies, ‘Holding on Tight’ 2022. Courtesy of the artist
ARTIST SPOTLIGHT: Pat Hoffie AM
Pat Hoffie is one of Australia’s most influential contemporary artists, working across painting, printmaking, installation, drawing and moving image since the 1970s.
From artwork made during an artist in residence at Cobalt Editions at QCAD, to selected artworks presented at PARKER Contemporary, and through to QAGOMA, this spotlight follows Hoffie’s first major body of work in printmaking.
'I have loved / I love / I will love' currently showing at the Queensland Art Gallery draws on printmaking’s long role in carrying and disseminating information to respond to images of human conflict from the constant stream of news and social media that forms the backdrop of our lives.
Working with monoprint, drypoint, digital processes and found materials, Hoffie slows these images down. Plates are cut and scarred, ink sinks into fragile paper, and figures appear and fall apart again. Tears, smears and shadows move through the surface, holding moments of chaos, grief and care in the same surface.
The series is on view in Gallery 14 at QAGOMA until February 1, 2026 and is also featured in the latest Art Almanac with an editorial by Sasha Grishin AM FAHA. A selection of Hoffie’s drypoints from this body of work can also be seen at PARKER Contemporary as part of Contemporaries: Summer until January 31.
1. Pat Hoffie at QAG. Photo courtesy QAGOMA and the artist by Embellysh Photography
2. Art Almanac December 2025/January 2026 Editorial by Sasha Grishin AM FAHA
3. From Sasha Grishin AM FAHA in Art Almanac December 2025/January 2026
4. Untitled from the MMXXIV Series, 2024, Drypoint on Somerset, Artist Proof
5. From Sasha Grishin AM FAHA in Art Almanac December 2025/January 2026
6. Crossroads from the MMXXIV Series, 2024, Monotype on Somerset
Selected works shown here are available through the PARKER Contemporary stockroom. Enquiries via DM or the gallery link in bio.
@artalmanac@pathoffie_@qagoma@cobalteditions@griffithuniversity@qcadgriffith
Current work for “Hero” curated by Yuriyal Bridgeman at Milani Carpark toys with whether its possible to produce a sense of the “Uncanny Valley” from domestic detritus in an age of AI and advanced robotocs. Roboticist Masahiro Mori, who coined the term, believed the phenomenon to be a survival instinct: “Why were we equipped with this eerie sensation? Is it essential for human beings?” he wrote in an essay, which was published in the Japanese journal Energy more than 50 years ago. “I have not yet considered these questions deeply, but I have no doubt it is an integral part of our instinct for self-preservation.” For this work (part of an ongoing series) I incorporated obvious “tricks” and tropes and the most clumsy forms of prestidigitation to set up a simple scensrio - but yesterday afternoon, kids still stood back in trepidation and a womans dog behaved in a very alert and alarmed way. I guess instincts run deep, no matter how sophisticated we think we might be?
