Beside a deterministic side of my work, there is an equally strong intuitive and irrational side, where my science-based pieces stop working as models and become pure art objects. My Tall Fir Alpha Helix (2003) is an example for that. I consciously diverge from making an accurate model of the spiral protein element by shortening the pieces proportional to the tapering of the 26’ (8 m) Douglas fir. The accumulation of small errors in combination with the organic shape of the tree caused the piece to have a striking resemble to a human spine. That unexpected new level of meaning is highly welcome and one of my driving forces for creating such sculptures.