Oppositions and balances are the mysteries that move me to make art.

I use sculpture, primarily in welded steel, to explore the dualities that grip my imagination. Forms are squeezed and others stretched to project bottled-up energy. The visual vocabulary is filled with oppositions: heavy and light, hard and soft, figure and ground, enclosed and open. I cut, weld and twist the metal into three-dimensional constructions that I think of as musical in their alternation of tension and resolution. The comparison to music extends to the way my sculpture engages viewers. A piece is dense with imagery and detail and requires time to read through. The eye presented with rhythmic repetitions, dynamic contrasts, dissonant and harmonious relationships and other analogies to musical grammar.
Walter Pater* said that all the arts aspire to the condition of music. In pure music the form is the content. The effect on the listener of the architecture of melody, harmony, rhythm, dynamics and timbre, constitutes the message. With these abstract elements, a composer can elicit from me a more profound emotional response than all my most urgent concerns of the moment. In visual art too the work that affects me the most is not that which addresses issues on my conscious mind. My work is without any message that could be verbalized, but is always about the mysteries that I can't resolve in words.

* Walter Horatio Pater, 1839-1894 English essayist and literary and art critic