The sculpture is a tableaux incorporating objects that reference ancient, universal and personal symbols. The circle: in China the circular “bi” reference the universe, redemption, and enlightenment. The Taihu stone is tied to an aesthetic embraced by Chinese literati who studied Taoist philosophy – emphasizing the unity of man and nature. The Chinese knot: represents blessings Clay pressed vigorously inside my hands; clay has been the focus of my creative expression and life’s work. These objects congregate on a reflective low pedestal that is a base and an integral part of the sculpture. The reflections are an important part of the piece. Reflections (on water) are perhaps the first virtual reality that humankind experienced, ephemeral, changeable, light-sensitive, incomplete, reflections respond to viewers as they move about. Many, perhaps most, artists seek to comment on, critique or protest contemporary concerns and events. This is a laudable option. In contrast, while intending to create expressive non-objective art, I intuitively referenced most of the above described symbols before I had studied Chinese culture. I am interested in why many of these symbols are so universal. Are they a part of our DNA and sense of being? Why have I been drawn so powerfully to them? A clue for me is the cosmos - which is a phenomenon, a happening. The cosmos seems beyond us, but we are part of it. The cosmos is also a universal language that transcends individual cultures, nationalism, ethnicity and local issues. Is there something that transcends divisiveness, intolerance, brutality, ignorance and ugliness that can speak to everyone - that beckons us closer to the cosmos where infinite unknown possibilities and solutions await our discovery? Searching for and sharing these truths is what drives my artistic and intellectual investigations. If we are to survive our anthropogenic selves, then we must become more aware of our place in the universe.