[The Ancestrals] each loosely based on the form of a box, still participate in a familiar mode of construction. As the viewer approaches the work, a striking silhouette gradually gives way to a fugue-like interplay of interior and exterior, part and whole. Each piece is a carefully directed spatial drama.
The viewing remains straightforward until one realizes that each pairing is made up of two virtually identical compositions. In each case the “original” version is a welded steel collage with the “reproduction” executed at roughly one-half scale in patinated brass. According to Bentham, the translation of scale and material forces the viewer to deal with the language of abstraction.1 In looking from one piece to the other, the viewer is compelled to mentally reconstruct the work, to verify that, for instance, those two flanges join at just the same angle in both pieces. Through this exercise the viewer unwittingly remakes the piece, mentally mimicking the series of formal choices made by the sculptor. Not only is the horse led to water, but it is drinking before it knows it.
From catalogue essay, MacKenzie Art Gallery, 1999