Florentijn Hofman



Worldwide recognized for his Rubber Duck, Florentijn Hofman found on large scale sculptures what best suits him as an artist. A touch of humour is usually in his artworks, those who make us look and wonder and look again. The Dutch artist wants to bring people together, to connect, to share, that they emerge from the private bubble so many are already deep into. In a conversation with ROOF Magazine, Florentijn Hofman shows us how he sees the world and let us understand the creative mind behind such huge sculptures which always start with a really small one (he says he is “quite old-fashioned”).


You have always been known for your large sculptures. What is the same and what is different since you started?

You know, in the beginning it was trying out what kind of art, or work, functions best with you as a person. I think that in the last 15 years I have find out what really fits me so nothing really changed in that sense. But I know when I see all that large scale objects that they fit me as glove.

And what is essential to you while developing a new sculpture?

Sometimes, I compare it with flying an airplane. You have the pilot, all kind of switches, the engines, the passengers, the luggage and the stewards. It`s a big ship, a lot of details. If things don`t go as planned you have to change or reset. All this large sculptures in public spaces are like that. When you start, you get a site visit or you get good information from the commissioner. You feel the situation and the social aspects of the location, the material that sometimes originates from local places… Then there is this artist with some ideas and then you start a project concept. That`s how we normally begin. All has to fit somehow before you can take off to fly that airplane. That is how I see the work.

Featured in ROOF 18



©Courtesy of Studio Florentijn Hofman

©Jeroen Musch

©Wu Qingshan

©Raquel Brust

©Robert Stiezenen

©Steven Stills

©Frank Hanswijk

©Steven Stills

Text: Inês Mendes

Studio Florentijn Hofman



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