Some of these sculpture's references include Kevin Kelly's (notable futurist and founder of Wired Magazine) book "What Technology Wants" in which he describes a teleological view of biological evolution as it applies to technology. Technology is viewed as a whole, like a living organism evolving to serve an ultimate purpose.

This piece is one of three fire extinguisher candelabras which reference two dualities: 'collectivism vs authoritarianism' and 'acceleration of technology vs deceleration to nature'.

These opposing dualities when considered together form a conceptual two-axis graph one can use to understand the position of individuals and large cultural forces, and their relationships to one another. I see these dualities as fundamental forces shaping the world and how they find balance with one another will be the story of the 21st century.

The 3D printed black bases reference feet quelling demons, a common theme in religious iconography globally, which typically represents our higher selves vanishing our ignorance, misdeeds, and inner demons. These bases become a foot for the extinguishers and imply the extinguisher is a kind of figurative body, perhaps a deity representing it's ideology in a space of ideological combat against others competing ideologies. I see these sculptures as essential forces like a deity of Winter or a deity of the North.

The candelabra arms were digitally created using a mathematical simulation technique called topology optimization in which forms are generated that satisfy specific constraints, like supporting a specific weight while using the least amount of material. Topology optimization is typically used to make stronger lighter weight parts for aerospace engineering as the technique evolves high performing generative forms that are as lightweight as possible. I used this technique because I see it as a fundamental change in the way we create the built environment: harnessing the properties of a material and the laws of physics to dictate a form, rather than shaping it by human will and force.

Small ornate plants and floral forms accent the candelabras which are gold plated 3D printed steel and bronze. They were created using a software I have been developing on and off since 2011 called Neophyte. The software generates plants which are loosely based on a grammatical structure called an L-System described in "The Computational Beauty of Nature" by A. Lindenmeyer. I find plants and the growth of organisms deeply beautiful and for me these plants represent a glimpse at redemption. They point towards the light of the universe and the sacred ability for matter to self organize into life.