There are a few remarkable points about this sculpture. In a very basic sense, it harks back to a kind of imagery, style and composition I discovered more than 30 years ago as a student. On the other hand, it represents a breakthrough in my attempts to visualize a kind of clarified “landscape of the spirit,” one that I feel breathes a life of the dream-like imagination. It achieves this, for me, on account of a sensitive treatment of forms along with a fortunate arrangement of its parts, all of which seem to work well as a unity. Finally, unlike my previous sculptures, this one presents points of interest from many angles and perspectives.

I can imagine this maquette as a larger piece through which one could walk, on a human scale, outside or in a large indoor space. Undoubtedly such a scaling up (rising to perhaps 12 or 14 feet at the highest point) would require a reworking of the forms and composition, in order to achieve a more appropriate “human body” relationship. This is to say, what works for a small maquette may not necessarily work on a human scale. A reconceptualization (or adjustment) based on size and site is often required.