Interview with Frank Hoeffler
A native of Wisconsin, Frank Hoeffler began painting at an early age. He is a classically trained professional artist who graduated from The University of Wisconsin Milwaukee Peck school of the Arts. His formal training included advanced studios and multiple artistic mediums. His style varies from realism, impressionism, expressionism, nonrepresentational, to abstraction.
Frank Hoeffler is one of ATM'S 60 International Master Artist's for 2022, 2023, and 2024. He received a very prestige's award from Arttour International Magazine at red-carpet, black-tie Galas in Manhattan, New York, His artwork was displayed on the NASDAQ electrical billboard in Time Square. He won the Titan Award, Master Artist of a New Era for 2024 and a documentary of his life will be made and shown at all national and international short film festivals. It can also be viewed on Apil tv, Roku and multiple other sources.
Frank Hoeffler has been Invited, over the years, to show in a multitude of national and international juried shows in major art museums and galleries across the country and in Europe since 1982.
Frank has judged and juried many art shows for artist guilds and art galleries, He is often asked to critique, demonstrate painting, and provide workshops as an instructor in and around Wisconsin. He also provides painting classes for adults throughout the winter months.
Over the decades, you have mastered and transitioned between various artistic styles and mediums, from realism to abstraction and nonrepresentational forms. Could you discuss the philosophical or emotional motivations behind these transitions? How do these changes reflect your personal growth or response to the evolving cultural or artistic landscape?
When I paint realism, I work on an easel. I feel as though I'm in my environment. I see the colors, I see the water moving, I feel the breeze. My brush strokes and color palette are driven by my emotions and senses. Sometimes, it feels as though my canvas is three-dimensional, and I can push my brush all the way to the most distant space in the painting.
When I paint in my nonrepresentational style, I paint on the floor. This way, I feel as if I could fall right into the painting's space. This style of painting is much more emotional for me. The strokes are intentional, planned, and direct. The paint is often applied thickly to convey strength. My abstract paintings reveal my deepest thoughts and emotions; if people could read my paintings, they would see my soul.
As a native of Wisconsin, how do you believe your upbringing and the local landscape have infused themselves into your artistic vision? Can you pinpoint any specific elements in your work that directly correlate with your geographical roots? How have these elements evolved in your work over time?
Driving the scenic, winding roads of Muskego, Wisconsin, where I was born and raised, I was always captivated by the colors of the lake, the woods I explored, and the wheat fields that changed color with the wind. I remember the barns, the sounds of birds, the paths I walked, the rivers where I skipped rocks—these things represent happiness, serenity, and peace to me. I try to incorporate all that emotion into my paintings. The palette I choose represents the peace and contentment I feel taking in the view. I hope my realistic paintings inspire viewers to look closer the next time they walk in the woods.
You have received significant recognition for your work, notably being named one of ATIM’s 60 International Master Artists for 2022, 2023, and 2024. In your view, what responsibilities, if any, do artists have to society? How can artists contribute to social change or dialogue through their work?
Artists have a responsibility to express their feelings, emotions, and vision of the world. We use brushes and palette knives to embody these emotions, and the smallest detail of a stroke can tell a whole story. Artists show that everyone feels emotions and that we know how to communicate our feelings through color and line. The size of a piece can express the significance of its subject. The job of an artist is to inspire people, to awaken them to beauty, and to encourage them to see the details everywhere. We use our medium to document our views and emotions, prompting people to think about the society we live in. A painting allows viewers to understand the artist's emotions or to create their own story.
Having taught and mentored countless artists through workshops and classes, what do you believe is the most crucial aspect of fostering artistic talent in others? How do you approach the challenge of teaching art that balances technical skill with personal expression?
I teach adult students, encouraging them to connect with their inner selves and emotions, whether positive or negative. I urge them to express these feelings on canvas, in any medium they choose. They don’t always need to be technical; sometimes, just being fluid is enough. Close your eyes, let the canvas, color, and brush stroke work for you. Above all, I emphasize belief in their skill and how they present it to others. We must stay motivated, always learning and growing, a process my students inspire in me as well.
In my career, I’ve evolved in my style, techniques, palette, and tools. I remain open to critics’ opinions, especially when they differ from my own, as they help me see through their eyes. While I may have a vision in mind when painting, it’s always wonderful to hear how my work inspires others and what emotions they feel from it.
Throughout your career, you have engaged extensively with critics and audiences in various forms. How do you reconcile your artistic intent with the diverse interpretations and critiques of your work? Can you share an insight or a critic who significantly influenced your subsequent creations?
When it comes to reconciling my artistic intent with diverse critics and audiences, I stay open to all criticism, whether positive or negative. I’ve never had difficulty accepting critiques of my work; in fact, I appreciate them and look forward to them. I treat those critiquing my work as I would when I’m critiquing others’. I first look at the subject matter, ensuring the artist knows how to handle the medium, be it watercolor, oil, or gouache, and presents the piece properly with quality framing.
One critic whose words I’ll never forget is my mentor, who, upon seeing a collection of my work, stopped, looked around at my paintings, and simply said they were “opulent.” I went home and looked up the word, though I knew its meaning, to better understand how she used it. She told me to “ask yourself the right question before you start to paint, and then paint.” I have done so ever since.
Your work often navigates the complex interplay between abstraction and realism. Could you delve into your creative process for starting a new piece? How do you decide which style or medium best suits the message or emotion you wish to convey?
Actually, this is an easy question. As you know, I paint nonrepresentational abstract impressionism, expressionism, and realism. The subject matter guides me on which to use—oil or watercolor, abstract or realism. After weeks of turning these details over in my head, I dive in and paint until I’m done with the subject. If I’m painting orchids in realism, for example, I might end up with 25 paintings of them. By the end, I’m usually mentally exhausted and take a break. It’s a lot of mental work, involving decisions about brushes, colors, strokes—every choice demands attention. It’s exhausting, exciting, exhilarating, and exhausting again.
Considering your extensive body of work and its recognition, how do you approach the concept of legacy and the preservation of your art? Are there specific ways you wish your work to be experienced or understood by future generations?
I do think about legacy and preservation. I only use professional archival materials, like 500-year canvases and high-quality oil and watercolor paints, to ensure my paintings last as long as possible. I hope future generations appreciate that I had to paint, that I loved it, and always will—my passion is my legacy.
Over the years, what have been some of the most challenging projects you have undertaken and why? Could you discuss a project that stands out as a significant personal or professional milestone and the story behind it?
One of the most challenging yet fulfilling projects of my career was being asked to serve as an adjunct art teacher for Germantown High School’s art class. I worked with 30 students interested in pursuing art, inspiring them to understand what an artist does. I assigned them a project: half would create an abstract piece for the interior of the school, and the other half would create one for the exterior.
For the interior piece, I had the students stretch seven canvases, each six feet long and four feet wide, and place them end-to-end in a hallway, forming a 42-foot-long mural. The painting was full of lines that grew less complicated as they progressed from canvas to canvas, representing the students’ growth and choices over their high school years. The exterior painting took a similar approach, abstractly depicting different career paths.
For the unveiling, we invited local superintendents, teachers, the press, and even the governor. Parents and friends came, and after a brief introduction, the students pulled down sheets covering their work. People were amazed, clapping and taking photos. I wanted these students to experience their first art opening and to understand the importance of their creativity. It was deeply fulfilling to help mentor young artists who were so excited about art.
Having been honored at a prestigious gala by Art Tour International magazine, how do you perceive the role of awards and public recognition in an artist’s career? Do you feel they alter the intrinsic value or perception of art?
I believe awards and public recognition are extremely important in an artist’s career. Many artists dream of being published, winning an honorable mention, or receiving a “Best of Show” award. These recognitions bring credibility and help spread awareness of the artist's work. People can’t enjoy art if they don’t know it exists. I do feel that awards can enhance the intrinsic value of art; more exposure and accolades certainly increase the work's perceived and actual value.
