Char Hoyt grew up in BC's beautiful Fraser Valley. Immersing herself in the arts at an early age, she used drawing both as an outlet and a tool to understand her environment. Since graduating from Emily Carr in 1997 not much has changed. She went on to explore a number of different creative endeavors, becoming an active member of the Vancouver underground art scene. As of 2007, Hoyt's work began to evolve into highly developed, large scale oil paintings that explore some of the deepest mysteries of modern physics.
By revealing nature invisible to the naked eye and layering space and time, Hoyt creates new hybrid worlds where all levels of dimension co-exist - unified realms highlighting the complexity and interconnectedness of life on all scales. Her work balances on the edge of chaos and control, reflecting both the cyclical and transformative nature of our Universe.
Char is currently working on a new series of paintings in her Vancouver studio.
For more information please feel free to email her at:
Watch a recent interview.
The paintings and drawings on this site are a selected archive of work done between 2002 and 2009.
A note on ASSBALLS...
In art school, while in search of the perfect scribble, Char discovered very small creatures living in her spleen. Keeping them hidden for many years, they began to seep out uncontrollably into sketchbooks, until in 2002 someone finally looked at them and said, ASSBALLS !
What are Assballs? We all have a funny idea but don?t really know for sure.
These Assballs are momentary blips - rendered outbursts of foolishness and wonder in the form of a comic strip. There are no rules, structure or context, they don't even have arms. They simply live in the moment and express an instinctive reaction to their own existence.
AssBalls the comic strip evolved into a long running series of paintings of the characters in their twisted parallel universe. Exposing inner conflict, desire, fear and elation, AssBalls reflect the absurdity of the human condition in all of its emotional extremes.
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