"Although these works depart from the artist’s earlier celebrations of metallurgy, they still exhibit traces of their manufacture, in welded seams and excess metal the curls from the surface like peeling skin."
 
        Sue Taylor
        Art in America, Nov, 1996
 
 

 "he has arranged the rock and the two cast pieces as a three part sculpture.  This treatment raises the rock to the status of icon and blurs the boundaries between what’s art and what is not.  The real rock becomes art, and in doing so imitates both itself and the art made from it."
 
        John Dorsey
        The Baltimore Sun, Jan. 13, 1994
 
 
 

 "This, I think, is the source of their [metal castings] modernity, for they are always in the process of change, at some times visible, at others times just below the threshold of the viewer perception.  In a sense these pieces are "about" the abrasion of time, the most powerful of all natural forces,"
 
        Alan Artner
        Chicago Tribune, May 2, 1996