Tofer has been an integral member of The Hundreds family since the start. His most notable relationship with us was the “Corn Mouth” installation in The Hundreds Los Angeles’ diorama. Since that time, his art has progressed and evolved into these starkly minimal shapes and patterns. The art is so precise and unerring, that it comes off as computer designed and generated, or even printed.

But upon closer inspection, all of his works involve his hand and involvement. From obviated brush strokes to the speckle from an airbrush, these photographs do very little justice to how complicated and layered Tofer’s paintings are. I guess they’re a metaphor for the man himself, he’s as complex and multi-faceted as his pieces, but on the surface, just as simple and straightforward as a familiar friend. With all of his personal intricacies and idiosyncrasies, Tofer’s creations stem from his published photography to his 3-dimensional stalagmites toEggman, but today we take you through his new studio space in Los Angeles, and introduce you to his next body of work – devoid of bold colors but a summary of who Tofer is and where he stands today…