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Perhaps the freest wok in my portfolio is my ceramic sculpture. I have always felt extremely comfortable with clay. I never lack an idea and it is all there. Never a plan and always natural. The greatest gift I was given in this media was the time I spent in the classes of Rudy Staffel at Tyler. He was a living artist. He understood what it was all about. And it emanated. He didn't tell us what to do -for him it was obvious- clay is this magic stuff- you get it- it is soft and cool and it can be anything you and IT want it to be. Then there is the magic- the ordeal - the mystery -the unknown.

There I experimented with porcelin clay bodies and glaze techniques. In 1982 I had an opportunity to work in a ceramic studio again at NYU. The studio waqs earthernware based but perhaps because of the time I felt very free to express my sculptural idea. I dabbled with the human form, started an interest in constructions.

 For years my sculpture either was shown on "pedistals" as required/expected" and the point which never seems true to me was a self importance.The only other and long term alternative was storage-  In 1990 I decided to put sculptures outside. I know this is a common practice as many plan and build grandisoe installations which typically to me never exceed the artist dream of the futrists. To me it is not about "self importance, icons or grandisose". It is intamacy, time, sensitivity and belonging- and it just happens. Typically it takes time. The earth must come to the work. For me this has been most successful with with the Dandelion Environ which finally reached the level of success that I imagines 25 years after the first sketch.