While I call myself a sculptor perhaps I am better described as a "reliefist". I have used bas-relief so often because it is the best way to represent the feeling of “becoming”, of capturing the moment when something is transformed into the new, the next. The functional expression of this property leads naturally to working in series.

Each piece made necessarily takes one direction, all other possibilities eschewed, all other roads not taken. At what point is this decision made? At what moment is one past the point of no return when no action can be reneged, its consequences put in play: a slide on the ice, an accidental confession, the masterfully placed lie?

This moment, this quiet imperceptible shift is best served to date by the ambivalence of bas-relief. At times it has morphed into sculpture at others it has flattened into the simplest of surfaces but always the pursuit has been to observe and lay bare the cusp of emergence. The combinations are infinite and the interest vital and sustained.