I don’t always agree with Schoffman, whose sectarian view of art history seems to narrow his otherwise catholic sensibilities. For example, in his 1996 lecture, “Vessels Of Common Character,” he spoke a bit too passionately of the connection between 14th century Ottoman handcrafts and the work of Micah Carpentier. At the time, the name Carpentier was as ubiquitous in Paris as the name Schoffman is today in Los Angeles. Carpentier’s installation, “The Song Of Degrees” was making its way through the contemporary art museums of Western Europe, and I ran into him at Bistro Pumelle on rue Sans Souci. I asked him about Schoffman’s reading of his work and he just rolled his eyes. “Schoffman’s a good painter, perhaps even a great painter,” he said, “he should stick to what he’s good at, and leave the speculation to the specialists.”

For the passed few years, my good friend and sometimes rival, David Schoffman, has been maintaining a "blog," (such an awful word, but more on that latter) recounting anecdotes from my life as an artist. (http://currado.blogspot.com/). As a latecomer to the 21st century, I have been slow to return the favor. Now that I am no longer teaching at the Lyons Institute of Fine Arts, I find that I have both the time and the inclination to indulge in our new technologies.

And so ... let me begin by stating quite emphatically, that David Schoffman is a most unusual and provocative artist. "Festina Lente," is more than a hollow slogan when it comes to Schoffman's methods and visions. He indeed makes a leisurely haste in his daily crucibles in the studio. To spend time with this erudite and sincere man is to be in the presence of one who truly is intent upon correcting the world through small acts of introspection.