As geometric forms began to dominate his work, he was fascinated by the possibilities inherent in these most basic of forms: the circle, the triangle, and the rectangle. Yet his works transcend these Euclidian forms by bending, warping and fastening themselves into unexpected shapes and surprising relationships. As a lover of transforming heavy metal plate into organic configurations emanating vital strength, he would often wake in the middle of the night full of creative energy and run to the studio as his mind processed and manipulated geometric forms and mathematical surfaces that he would cut, bend, and weld steel into with a passion driven by the need to visually realize what he so clearly saw in his mind. While the maquettes that would originate within such a moment might weigh as much as fifty pounds and would be appreciated by many as a finished piece, it is but a fraction the size of what he envisions any of his pieces as their final form. Aware of the negative spaces only after construction of the piece, he considers them as serendipitous aftereffects, as for him there is so much more to the piece than its structure; so much of the beauty falls in the shadows and the ever changing negative space.