Generally, my work is not limited by formal, technical, or thematic boundaries. My focus is to articulate through visual and performance art, using these disciplines to express my interests regarding cultural, social, and existential and scientific questions. Exact sciences (mathematics, physics, etc.), politics, philosophy, history, psychology, archeology, etc., all inform and are essential to my work. In gaining as much knowledge as I can, I attempt to translate this learning through the use of my artistic imagination, relating what I know and what I think it means to be a human of conscience on earth – sometimes a beautiful experience; often not.

My work is mostly related to the perpetual human tragedy, and to the pressing, essential questions of social being, human relations, human impact on the planet, and the general problems of our contemporary world. My goal is to artistically discuss these problems, thereby eliciting thought and stimulating some process of consideration in the viewer regarding such subjects that are determining, in varying degrees, all our lives. I am particularly interested in creating real and relative space in which a kind of dialogue can take place with those who may not otherwise have the opportunity to clearly envision, or relate, life's information, its wisdom and its questions.

Because my work is diverse in content, I tend to use various techniques and materials. My preference, however, is three-dimensional work and sculpting. Actualization of my projects tends to be a long-term process since a single project is typically comprised of several stages.

For example:

• My project The American President, which I have already begun, will be composed out of forty-three bronze sculptures
• In 2000 I completed my project titled: The Phenomenology of Transitoriness, consisting of 365 works, 12 video tapes, 12 sculptures and installations, etc.

Given that the subject is so central to my work, it is quite difficult to define its style, although there are stylistic qualities that are becoming increasingly recognizable, especially if the entire oeuvre is viewed within the context of the times during which it was created.