After thirty years of springing large-scale sapling sculptures into unlikely places, it has become easier for me to distill some of the constants that characterize my work. In that regard, the work is temporary, uses entangle - ment as a simple fastener, employs a drawing style akin to works on paper, always needs a sponsor, capitalizes on volunteer help, and is open to the public during the building phase. Further, the work has always sought to find reciprocity with the sculpture site and, most importantly, to enliven the imagination of the viewers.
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"The Joys and Challenges of Stickworking,"