Humour, sensation, maximum impact; internationally renowned artist Florentijn Hofman (Delfzijl, 1977) does not settle for less. His sculptures are large, very large, and are bound to make an impression. Hofman’s sculptures often originate from everyday objects. They are all ready-mades, selected by Hofman for the beauty of their forms. Subsequently he crafts these into clear and iconic images; cartoonish blow-ups of reality that alienate and unsettle through their sheer size and use of materials. Nevertheless they are immediately identifiable and have an instant appeal. Although artists do not always tend to value reactions of passers-by, for Hofman the audience is an essential part of his work. An encounter with one of Hofman’s extraordinary sculptures invites us to stand still for a moment and to look; to really look and to take a picture if you like. They give people a break from their daily routines. Passers-by stop in front of them, get off their bicycle and enter into conversation with other spectators. People are making contact with each other again. That is the effect of my sculptures in the public domain.’