A sprawling amalgamation comprised largely of components from seven previous sculptures.

Celebrating a vital component needed to ignite creativity.

We hope the Park evokes this sentiment. Each of the three parts rotates independently in the wind.

A collective organization of individuals gathers for a purpose. Like all complex systems, it cannot be fully understood from any on vantage point.

This is the first time I have configured letters. They spell out a vital attribute that inspires this artist.

I imagined a complex shape able to rock and tilt in any direction while rotating. Ultimately this required sourcing specialized parts and solving tricky engineering/dampening problems. The many experiments and revisions required three years to get everything right.

For many years I have imagined a beam deforming under the stress of a formidable load. I finally put my vision to the test. The title is taken from a T.S. Elliot poem.

Comfortably contained or breaking free? What might this say about our physical and psychological relationship to the spaces we inhabit and to nature?

This is my first instance of using an existing, in situ landscape element at the Park. This sculpture presented several serious balance and engineering challenges. Surprisingly the seven-ton structure turns in a modest wind

I distort the basic wheel shapes of the concrete, bend them, add the stainless, and work the surfaces all to animate them. The stone is quiet, protected, perhaps humbled.

As in jazz, things come together through coloration, modulation, and rhythm to create a new whole.

I have sited this male abstract figure looking across a large expanse of meadow to my female, concrete, totemic sculpture "Ngozi". I want the pair to speak and hold a huge space. The title is an Egyptian boy's name meaning "loved by all".

Though the shape and contour of each element is unique, they come together to render a cohesive whole much like the varied species of our natural world. In honor of my code-breaking father-in-law who much appreciated Darwin's work

This four sided, compound-curved shape was first created in steel then clad in hand-broken, Italian, porcelain tiles. Its title comes from Dizzy Gilespie's upbeat scat tune.

For all the considerable size and weight, I like its playful, energetic, accidental quality.

For two years I worked to describe and articulate the form, surface, and inner spirit of one particular small field stone. Several works grew out of this exploration.