My work uses sculpture as a creative methodology in the exploration of videogame experiences. Through the reinterpretation of virtual interactions and objects into physical spaces, I’m interested in revealing underlying -or- hidden aspects of game structure that are otherwise not apparent during regular game play.  Although I use a wide variety of media (digital prints, screenprints, ‘zines, video), the spatial dislocation (or translation) from the virtual to the physical positions the work within the realm of sculpture.  When working within a videogame itself, I’m performing or programming applications that subvert the regular rules of the game, particularly from a (cyber)feminist point of view. There are three trajectories I’m using as strategies in this ongoing sculptural investigation of videogame environments and ephemera:

 1.  Existing videogames are used as a basis for enhanced or amplified play-conditions that reveal emotional (and other) impacts of game structure.  For example, in the series of prints titled Continue?, I’m using the well-known end screen from the videogame Mega Man to amplify feelings of failure when a player can’t move to the next level.  Although relatively innocuous in Mega Man, failure during MMOG game play (Call of Duty, for example) can have more serious consequences and backlash.

 2.  I’m directly subverting or adapting existing videogames in order to alter game play.  In the ‘zine titled DunnMe, I describe a World of Warcraft (or WoW) application players can download that I created to subvert in-game trash talk.  DunnMe gives players a slash command ability to quickly and efficiently interrupt sexist language by other players at any time during game play.  I used Lua–the programming language native to WoW –to create this simple, real time feminist tool.

 3.  I’m theorizing a new game environment -or- approach to game play.  In the series of digital prints titled Kill Screen for a Theoretical Videogame, I’m reversing game design by assuming the player will eventually outsmart the game structure.  Kill screens–in early 80’s arcade game design specifically–were a glitchy endpoint that served to save on processor space.  Designers and programmers assumed that players would “die” or fail long before they could reach a kill screen.  Their assumptions were wrong, and kill screens became a design obstacle in subsequent game structures.

 In all of these investigatory methods, the viewer is implicated as a part of the work in both direct and indirect ways.
















Krista Hoefle received her MFA in Sculpture from Penn State University, and her BFA in Furniture Design from the Savannah College of Art and Design.  Her work has been exhibited and screened internationally in numerous venues.  Recent exhibitions and screenings include: The Almost Metal Collective group exhibition at A+D Gallery, Columbia College (Chicago, IL); Mystery Science, a two-person exhibition with Edie Fake at Tryk Tryk Tryk Gallery (Copenhagen, Denmark); Ah Wilderness at Ebersmoore Gallery (Chicago, IL); Mischief Night at the Hyde Park Art Center (Chicago, IL); Two Minute Film Festival at the Carnegie Museum of Art (Pittsburgh, PA); Video Dada at Room Gallery, University of California (Irvine), curated by Martha Gever; Paper City and X at Mixed Greens Gallery (NYC).

Krista has had residencies at Anchor Graphics (Chicago, IL) and The Experimental Television Center (Owego, NY), and was a Visiting Artist in the Sculpture area at the University of Tennessee (Knoxville, TN). Her work has been reviewed in regional and national publications such as Sculpture Magazine, Art Papers, The Wall Street Journal and TimeOut Chicago.

Krista has an upcoming solo exhibition at Packer Schopf Gallery (Chicago, IL) in May 2013, a group exhibition at the Palmer Museum of Art (Penn State University, University Park, PA) Summer 2013, and will be a part of a video compilation Disruptive Film:  Everyday Resistance to Power edited by Sherry Milner, Ernie Larson and Jill Godmilow.

You can find Krista in World of Warcraft performing and playing as Kryzzik, a Goblin Mage, on the Emerald Dream server in World of Warcraft. 

Reviews and shout-outs:

TimeOut Chicago(for solo show “The girl who stopped being human!” at Ebersmoore Gallery)
Chicago Art Review (for solo show “The girl who stopped being human!” at Ebersmoore Gallery)
Bad at Sports (for solo show “The girl who stopped being human!” at Ebersmoore Gallery)

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