Hoffman’s work is an exploration of screen-oriented and data-based imagery, creating physical records of intangible moments experienced through technology. In his view it is entirely possible, and perhaps likely, that paintings will outlast digital media. These moments range from interactions with phone cameras and computer programs to observed instances in film. Ultimately, the artist is interested in the qualities of light and how individuals experience light and space in an increasingly virtual world.

A form of “digital nostalgia” permeates the Hoffman’s work, investigating how technologies provide a timeline of human advancement. The moiré effect common in his paintings roots the work in the contemporary era of digital displays and cameras. Hoffman perceives the moiré pattern as a conversation between two machines and strives to decipher this interaction in his practice.

Hoffman’s approach to painting highlights the subtle quirks of engaging with screens and lenses in everyday life, focusing on creating works with a softly glowing, iridescent quality. Moiré patterns, lens aberrations, and subtle reflections on the glazed surfaces of screens become central to the paintings, grounding the work in the present. Reflections of the real-world environment often distort the "onscreen" imagery, prompting viewers to contemplate an intertwined mesh of space and light that, though initially confusing, ultimately resolves into clarity.