Done predominantly in cadmium reds with a distinguishing vibrant yellow head, the painting contacts the walls at three small points giving it the feel of a flying object. The form is unmistakably feminine despite the current of muscularity in the upper torso. This, however, only seems to heighten Mistress' sense of purpose. With her outspread arms, head pointed upwards and body rigid in cautious anticipation of take-off, there is only one thought: "Yes, I am ready for flight."

Hang gliders and galleries

Hoffmann first learned of the Icarus series of annual exhibitions while on a hang-gliding vacation in North Carolina's Outer Banks. In addition to being the birthplace of flight where Wilber and Orville Wright made history back in 1903, the area is steeped in pirate lore, American colonial history and natural beauty. Accordingly, artists come from and all over to capture its many facets, and art galleries abound.

A chance encounter with Glenn Eure, gallery owner of the Ghost Fleet Gallery in Nags Head and one of the founders of Icarus International, led to the artist's initial entry in 1998.

The Icarus series had begun in 1993 as part of the celebration of the centennial of flight and was to run through 2003. Each year a call was made to artists to create a work based on a different flight-related theme. The 1999 theme was just as compelling to Hoffmann as the previous year's subject matter, "Lighter than Air," for which he had sent in "Phantom Light."

“Phantom”, a framed acrylic on watercolor paper cut-out that lays flat against the wall, represented the kind of work Hoffmann was doing at the time. But for “Women in Aviation,” the artist felt he had to do something different.

“The subject matter of this theme lent itself to a work that would come off the wall,” he said. “Intrinsically, it was almost a requirement,” he added.

A return to sculptural forms

Up until that point, Hoffmann had stopped working in three dimensions to concentrate on paintings that created the illusion of a third dimension.

“I had begun challenging the viewer to visualize three dimensions in my work just by the use of paint,” he remarked. “But I found I missed the physical sense of depth and additional spatial challenges that accompany these [sculptural] types of work.”

“Mistress” then, represented a return to more sculptural forms for the artist and the complexities that come with them.

“The construction was a challenge to execute since it needed to attach to a wall yet be balanced in such a way that the three points appear to be the only support, said Hoffmann. “It definitely was a challenge of making the piece work where it contacted the walls, making sure that it was built solid enough that it stayed together.