The first thing I noticed about wire mesh, back in the mid nineteen-eighties, was its tactile approachability. I had ready access to the material in the blacksmith shop I was employed in. The mesh panels of the fireplace screens needed lumps and bumps taken out, but I soon rebelled and began to have much more fun putting the lumps and bumps in. Initially limiting my expression to the human form in high relief, I discovered new horizons of possibility when I experimented with sculpting in the round. Here, the transparency of the material discouraged representational detail, but rewarded simplicity of form. Suddenly I had a medium that spoke its own language; sculptures that show off what they are made of, the mesh itself being the end more than the means. My newest subject matter inadvertently sidesteps an event horizon of sorts; moving from the depiction of the classical human form, a celebration of the individual, to an abstracted micro/macro viewpoint. I see these pieces alternatively as water droplets frozen in time by a strobe light, or as supernova. Cells reproducing, or a single-minded flock of swifts in flight. Nature expands delightfully into both pre-and-post-classicism!