On the Concept of the Wood Forms:
Generally speaking, the concept has evolved over the course of the wood forms' career, beginning with solid forms and morphing into hollow expressions of light, open invitations. Not to say that solid forms will not emerge at present, but in the interest in outlining the main stream of movement, this is the case. From the outset some aspects of the approach remain unchanged; namely, the necessity of a penetrating mind state (which unfailingly involves lucidity, peace and passion) from which curious forms may emerge on paper; and, the highly abstract conceptual direction where contours, solids and space act not as signs, symbols or concrete representations but as a vocabulary in and of themselves used in the composition of visual poetry, if you will, where in critical retrospective deconstruction the parts and whole may be identified as representations of metaphysical subjects of inquiry. As a material structure, the sculptures inevitably exploit physical ideas such as pull, tension, duality, harmony, compromise, mutuality, interdependence, inseparability, intrinsic non-duality, spatial interaction as equal partner, and dynamic structural balance. It may be interesting to note that these physical concepts may have assumed a greater focus in the earliest instances in titles such as "Arch", "Stretch", "Reach" and "Symbiosis".