My sculpture has been inspired by the human form, the natural world, and architecture. Since the 1970’s, I have worked with a variety of materials, including polyurethane foam, handmade paper, vines and branches, wax, wood, metal, and plaster. Each medium has opened up new possibilities for exploring my concerns in different ways. Whether it has been the softness and pliability of foam, the resistance of metal or the infinite textural varieties of paper, the dynamic interchange between material and idea has always intrigued me.

While the media has changed and my imagery has evolved over three decades, all of my sculpture is a synthesis of the formal, expressive, and symbolic. Abstraction has been my primary language, because abstract form has the potential to evoke multiple layers of meaning through allusion and association. Much of my work is evocative of male and female forms, even those pieces that relate to the geological and architectural. But, beneath these more obvious references, there has always been for me a deeper interest in the mystery of internal spaces, whether hinted at through cracks and crevices, or expressed through the interiors of shelters and other kinds of enclosures.

The concerns that have informed my work in sculpture have consistently spilled over into my works on paper. At times, the drawings have preceded the sculpture, while at other times they have evolved directly out of the three-dimensional work. In either case, working in two dimensions has enabled me to express my ideas in a very direct, immediate, and spontaneous fashion, which is very different from the step-by-step, labor-intensive process of creating sculpture. Furthermore, in drawing one can manipulate and fix the intangible qualities of light and shadow which are often ephemeral in sculpture and which are so critical to the expression of my concern with inner/outer.