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In my current work in kinetic sculpture, I am trying to concentrate on the movement, rather than the object. I take it as an article of faith that the air around us moves in ways that are organic, whimsical, and unpredictable. I, therefore, assume that if I were to abdicate the design to the wind, the work would take on these same qualities.

The engineer in me wants to minimize friction and inertia to make the air visible. The architect studies matters of scale and proportion. The navigator and sailor want to know the strength and direction of the wind. The artist wants to understand its changing shape.

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