Davis' desire for a physical as well as visual interaction with the viewer results in a kinetic dialog which moves us around the work. As our position changes, the way we see the sculpture dynamically shifts; heavy boxes viewed from the side seem to hover or float on skids when seen from above. In another piece, a view of articulated shelves of parallel planking and collapsing space sharply contrasts with areas of wide plywood that curve between the uprooted table legs on the sculpture's opposite side. Color, texture, and iconography are suppressed in order to clarify structure and interrelationship of forms. This decisively limited palette effectively brings the viewer -- as another interrelated form -- into the position of primary significance.

Subtle, thoughtful and very smart - this work covers fresh, new territory. The materials, held to consistently for more than five years, help create a frame of reference that allows minimal architectural work to expand out of its academically imposed restrictions in order to create a new spatial, tactile, and psychological experience for the viewer -- an experience in which viewers find themselves, rich with associations, the subject of the sculpture they are viewing. - James Hull