The process of making a stick piece is a simple one. I walk through woods, parks, and yards to collect sticks, picking them up off the ground. Next, I glue them together to
create a form, generally based on an obelisk, while exploring variations in both structural and decorative design. In the final step, I cover the piece, either partially or completely, in dirt.

A specific title or meaning of the piece is not predetermined. I initiate the process, but
thereafter it becomes a mutual "give and take" between me and the emerging form.

The sculptural process is additive, an aggregate of units, with variations, that involves organic materials and suggests a process of growth. The steps of its evolution include structure, life, and spirit. The first step is architectural, establishing a foundation; the
second step involves figuration, the suggestion of a human presence, of life; the third step is the nascent form determining itself as a distinct entity, the realization of its
spirit.

The freestanding piece is titled "Hothouse" because its form suggests several ingredients to me: a plant (flower), a wave (water), and a flame (light and heat).
Its architectural quality includes an interior space, with its implication of housing something, as well as the exterior interplay with space around it. Lastly, it suggests a
human figure, the agent capable of bringing together plants, water, light and heat within a space to create what is commonly called a hothouse (or greenhouse).

The wall-mounted piece is titled "Phoenix" because its form involves a dramatic projection and rising movement from the plane of the (essentially) two-dimensional
surface. This suggests to me the mythological bird, the Phoenix, able to burst into flames, then rise up from the ashes, a symbol throughout history of renewal through
the cycles of life and death.