With a few exceptions, that is. For one, I always loved construction and was involved in the construction process in one way or another throughout my life. Back in Switzerland I did a five-year renovation project of our three hundred year old house. Then, in 1988, my family and I built our house and my studio in southwest Virginia, which included a series of romantic ponds and a 110-foot waterslide from our house down to the Smith Mountain Lake.

During my dark period, from 1989 to 1991, I did a number of quite tall ('Unity' 12-foot tall) and some very small (just a few inches high) sculptures made of cloth, modeling paste, gesso, glues, wire and tar, some as collages on plywood. I didn't have the money to cast them in metal, but always intended to do that sometime in the future.

Another series, which I did in the late 1990s, is called 'Reverse Engineered.' They are assembled from old European household and craftsmen tools of two and three centuries ago, which I put together in weird ways to make them become something else.

In more recent years I did a few large sculptures wrapped in aluminum foil, around various cores of wire net or wood.

I usually imagine my sculptures in the middle of the night, before executing them the following day. I rarely draw previous sketches of my pieces, but rather follow my gut feelings when I have the materials that go into them in my hands, which I believe increases the quality of the outcome.