My early work (The War Series) was autobiographical, mostly concerning World War II experiences as a child during the German occupation, the bombardment and siege of Budapest, and the Holocaust.  The victims of the conflagration are usually stylized as small brass rods in unmanageable environments.  That early work has since evolved into a more abstracted symbolic form, still representing conflict, but without clear identification with the victim.
Another evolving series, End of the Road, depicts untenable situations, symbolizing some critical life-event that requires altering one's course. The series expresses a dystopic world view, a pessimistic understanding of the state of affaires.
The latest series, Abstract Machines, borrows elements from Struggle in which civilization is frequently symbolized by machines. Here complex whimsical machines themselves are the subjects as sculptural entities with full integrity and beauty.
Much of the current work, The Struggle Series, is concerned with the two elemental conflicts that affect humankind.  One struggle is between Western Civilization and the forces of nihilism and anarchy; the other is environmental destruction vs. the reaction of the wounded earth.  Clearly man-made objects such as machines, buildings, or finely-crafted abstract structures represent mankind and its works.  Alien plant forms stand in for reactionary forces in some pieces, or for the debased environment in others.  The viewer's identification is with one or the other, whether personal or political.  The two contrasting forms interact, either battling one-another to a draw or one begins to dominate the other.  I find the ambiguity of the work intriguing, inasmuch as it forces the viewer to take sides.