Skip to main content
Photography (MA)

Katrine Hoff

Katrine Hoff (b. 1993) is a danish multidisciplinary artist currently working and living in London. Hoff holds a BFA in Photography from HDK-Valand Academy of Art and Design and an MA in Photography from the Royal College of Art. Within her work she examines the evolution of the post-human body and the spaces which it inhabits. Central to her practice are feminist discourses and critical theory concerning ecology, post-humanism, virtual reality and science fiction. Her work sits in between photography, sculpture, performance and installation questioning the role of photography in the 21st century. Hoff has exhibited various places in Copenhagen, Gothenburg and London such as Kunsthal Charlottenborg, Röda Sten Konsthall and Southwark Park Galleries. Her latest exhibitions include ‘CopyCat’ (2021) a site-specific solo show at Konstepidemin, Gothenburg and ‘FEED ME FOREVER’ (2022) an upcoming solo show at Springbrættet 6a, Copenhagen.

IG: @katrine_hoff


Upcoming exhibitions:

25-30 June, ‘RCA Graduate Show, 2022’. Royal College of Art, London, United Kingdom.

12-22 August, ‘FEED ME FOREVER’. Springbrættet 6a, Copenhagen, Denmark.

15-19 August, ‘After The Waiting Room’. Copeland Gallery, London, United Kingdom.

Show Location: Battersea campus: Dyson & Woo Buildings, First floor

Katrine Hoff-statement


“The Hungry Eye (a deconstruction)”


“The Hungry Eye (a deconstruction)” is a body of work centered around the idea of ‘The Hungry Eye’ - a restless eye that is constantly hungry for pixels. The work questions the ways in which we experience and engage with the constant flow of images existing within today’s society. I use imagery sourced from both personal and found archives to zoom in and abstract in order to slow down and look closer. The images depict both the human and the non-human; the bodily and the outer space. All of which constantly absorbs and transforms. The work consists of digital prints on textile mixed with other materials and media, such as the sound piece; “Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)”. Through my experimentation with textiles I have engaged with concepts of deconstruction, repair and what I have come to describe as physical glitching. With this body of work I aim to turn the digital and non-physical into something physical and tangible.


“The oppositions challenged by deconstruction, which have been inherent in Western philosophy since the time of the ancient Greeks, are characteristically “binary” and “hierarchical,” involving a pair of terms in which one member of the pair is assumed to be primary or fundamental, the other secondary or derivative. Examples include nature and culture, speech and writing, mind and body, presence and absence, inside and outside…. to “deconstruct” an opposition is to explore the tensions and contradictions between the hierarchical ordering assumed ”. - (https://www.britannica.com/topic/deconstruction).


“When I was growing up, all the woman in my house were using needles. I always had a fascination with the needle, the magic power of the needle. The needle is used to repair the damage”. - Louise Bourgeois.


“A glitch is an error, a mistake, a failure to function. Within technoculture, a glitch is a part of machinic anxiety, an indicator of something having gone wrong. This build-in technological anxiety of something gone wrong spills over naturally when we encounter glitches in AFK (away from the keyboard) scenarios”. - Legacy Russell, ‘Glitch Feminism, A Manifesto'.

The Hungry Eye (a deconstruction)00.31 min. video documentation of installation.
The Hungry Eye (a deconstruction)
The Hungry Eye (a deconstruction)installation image.
The Hungry Eye (a deconstruction)
The Hungry Eye (a deconstruction)77,6x48,6cm, gicleé print on Hahnemühle Photo Luster 260gsm paper.
The Hungry Eye (a deconstruction)
The Hungry Eye (a deconstruction)variable dimensions, digital print on wool/silk blend 113gsm attached to steel ring.
140x247cm, digital print on woven canvas 300gsm attached to steel rods.
140x247cm, digital print on woven canvas 300gsm attached to steel rods.
variable dimensions, digital print on wool/silk blend 113gsm attached to steel rods and digital print on wool/silk blend 113gsm attached to steel ring.
variable dimensions, digital print on wool/silk blend 113gsm attached to steel rods and digital print on wool/silk blend 113gsm attached to steel ring.
detail image of digital print on wool/silk blend 113gsm attached to steel ring.
detail image of digital print on wool/silk blend 113gsm attached to steel ring.
variable dimensions, digital print on wool/silk blend 113gsm attached to steel rods.
variable dimensions, digital print on wool/silk blend 113gsm attached to steel rods.
140x247cm, digital print on wool/silk blend 113gsm attached to steel rod.
140x247cm, digital print on wool/silk blend 113gsm attached to steel rod.
detail image of 140x247cm, digital print on wool/silk blend 113gsm attached to steel rod.
detail image of 140x247cm, digital print on wool/silk blend 113gsm attached to steel rod.
37,2x28cm, UV-print on clear acrylic sheet.
37,2x28cm, UV-print on clear acrylic sheet.
GIF made from image displayed on 37,2x28cm, UV-print on clear acrylic sheet.
GIF made from image displayed on 37,2x28cm, UV-print on clear acrylic sheet.
77,6x48,6cm, gicleé print on Hahnemühle Photo Luster 260gsm paper and "Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)", 1.06.31 min. audio and 140x1
77,6x48,6cm, gicleé print on Hahnemühle Photo Luster 260gsm paper and "Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)", 1.06.31 min. audio and 140x100cm digital print on wool/silk blend 113gsm.
detail image of "Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)", 1.06.31 min. audio and 140x100cm digital print on wool/silk blend 113gsm.
detail image of "Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)", 1.06.31 min. audio and 140x100cm digital print on wool/silk blend 113gsm.
Letting the Pixels Wash Over You (2 min. recording of waves hitting the shore stretched to 1 hour)1.06.31 min. audio

William Demant Fonden