Sculpture can never be appreciated fully from a single viewpoint.  It has to be taken in more as ribbon of highway weaving down a road in time.  The entire road cannot be viewed at once, it has to be visited piecemeal.  With sculpture repositioning ones self for each view requires time for the repositioning. Therefore and likewise, to take in an entire sculpture it must be imagined by the viewer collectively, as a series of snapshots, which then, albeit unconsciously, are reserved in the mind and reassembled with some modicum of imagination as a sum of parts rather than as singular form.  Within this characterization of my observed,  “presence” of sculpture, lies my reason for my continued fascination with it as a vehicle for my creative expression. 

 For my personal foray into the examination of this concept I have centered on the enigmatic Mobius Strip.  Here I attempt to project the feeling of constant motion in  projecting my work as never resting, i.e. continuous rather than static.  The motive is to put the viewer in a off balance state but at the same time seeking balance. 

Not everything in this category represents a mobius strip, but  its influence is at the root of the continuity of flow I look for in my work.  The idea is that the “whole” can be only be fully understood through the collective snapshot memories the view has collected over the time spent viewing the work.  The viewer then reassembles the sculpture in their mind much more like a story that has been told to them.  In fashion – “I’ve looked at life from both sides now, From up and down still somehow, It’s life’s illusions I recall, I really don’t know life at all” — Joni Mitchell