His most famous work to date, the fun and floating Rubber Duck, turns everyone’s favorite bathroom toy into a giant 26-meter object that pops up in different cities across the world to reconnect people with their own childhood and leave a positive artistic statement. After pit stops in Sao Paolo and Hong Kong, the delightful duckie has found a new home in Chongqing. According to Hofman, his sculptures “cause uproar, astonishment, and put a smile on your face. They give people a break from their daily routines. Passers-by stop in front of them, get off their bicycles and start talking to other spectators. They cause people to reconnect. That is the effect of my sculptures in the public domain.”
To this end, a lot of Hofman’s works draw inspiration from everyday objects. They are ready-mades, selected by the artist for the beauty of their shapes. Once he has picked a suitable starting point, Hofman uses it to create clear and iconic images; cartoonish, blown-up versions of reality that alienate and unsettle through their sheer size and choice of materials. The skin of Big Yellow Rabbit (Örebro, 2011), for example, consists of thousands of Swedish shingles, while a wooden frame was covered in reeds for his unsettling Muskrat (2004) sculpture. Meanwhile, Look-out Rabbit (2011) featured a screwed-together wooden plank contraption, contrasting Fat Monkey’s flip-flop extravaganza. Labor-intensive by nature, Hofman’s projects often appear to defy gravity – thanks to his painstaking craft and love of detail.
Find out more about the artist on his website.
Text: Romy Uebel
Header image: Trey Ratcliff