For twenty-five years I have investigated how opposing qualities achieve balance within the human figure. A contorted spine demands muscular tension — but if the hands compose themselves in calm, the face withdraws into quietude, and the flowing progression of forms suggests release, something unexpected emerges. The strain remains. The calm remains. Neither overwhelms the other, and the configuration achieves a completeness that neither quality could produce alone. I call this equilibrium. My work investigates how it arises, what sustains it, and what it reveals about the relationship between physical, psychological, and aesthetic experience.

The practice began in 1999 with Figurative Structures, a photographic methodology that treats the body as a site where opposing qualities can be isolated and examined under controlled conditions. Early on I noticed that balance within a single domain — force against force, tension against compression — produced stability but not completeness. What produced completeness was opposition that crossed domains: physical strain counterweighted by psychological calm, temporal stillness finding its complement in spatial extension. Because these qualities operate in different registers, they cannot cancel each other. They can only coexist. I recognized this pattern through intuition long before I could articulate it. My background in theoretical physics and software architecture gave me the tools to organize that recognition into systematic inquiry — seven series across three investigative phases, each testing the principle under different conditions.

The recent transition to sculpture with the Stillness, Held series introduces a critical dimension: time. A photograph captures equilibrium at the moment of its occurrence. Sculpture must sustain it — in cast mass, under gravitational pull, across indefinite duration. Torsion holds grounding and rotation in permanent opposition within the density of cast stone. Tacit balances internal withdrawal against external articulation, containment against release. In both works, the equilibrium is neither released nor resolved. It is held.

The pursuit began as aesthetic intuition. Over twenty-five years, it revealed its own logic: the configurations that achieved beauty were not accidental but shared a common structure. Beauty emerged when qualities drawn from different domains — physical, psychological, temporal, spatial — were proportioned in harmonious equilibrium. And that equilibrium, when genuine, was sustainable. This recognition was arrived at through the work itself — observed, distilled, and gradually generalized into a principle that the work now continues to investigate. The equilibrium is method. Beauty is the perceptible signal of this organizational condition. It is harmonious structure made visible.