My concrete science-artworks arise out of an attempt to create life-like kinetic sculptures and landscapes that are controllable and sufficiently flexible that one can "compose" for them as one composes music for an instrument, or choreograph them as one would a dance troupe.

At a broad level, I am committed to explicitly introducing the emotional, the personal, the intimate, and the sensual, to the otherwise rather cerebral and disembodied atmosphere surrounding and directing most high-tech development projects. In this vein, I make an effort to blur the boundaries between the kinds of emotions felt and issues considered in finding a lover or rearing a child, and those emotions felt and issues considered conceiving of and building high-tech artworks.

I initially entered the area of high-tech art for a couple of reasons. First, most of the high-tech art I had seen tended to be either technically sophisticated but artistically naive, or artistically sophisticated but technically naive. Since it seemed obvious to me that a better balance between these two extremes would naturally lead to wonderful "living sculptures", I was excited by the opportunities I saw in this area. Second, I was miserable at always having to choose between entering environments which were technically sophisticated, innovative and alive, but artistically, emotionally and relationally naive, or entering environments which were artistically, emotionally and relationally sophisticated, innovative and alive, but technically naive. It seemed impossible to find work which was deeply rewarding in both these areas simultaneously, and I felt that creating high-tech art would provide a wonderful intermingling of these sought-after elements.

It is my continuing mission to combine the vast technological capabilities of serious engineering with the emotional and aesthetic richness of the best and most satisfying works of visual and performance art. To make headway in this area, I find it crucial to balance my technical understanding of the physical world with my emotional understanding of myself and others. I refer to this merger of technical and emotional work as Feminist Engineering, and to the resultant creations as examples of Affectionate Technology.