If the artist cannot achieve all these things in at least some modest degree, I consider he has failed.

With these goals in mind, I work toward an organization of pattern and light in structure that I call kinetic symbolism.  To me, movement in the visual arts (as in music, also where the movement is based on time progressions) is a way of expressing life, the quality of being alive.  Movement defines space and movement through space expresses human experience, the human condition.   It is at this juncture that a visual art (whether painting or stained glass) ceases to be superficial decoration and turns into art - visual art being a direct, vital ineffable communication between people - an organization of ideas and emotions and experience remembered within the eloquent silence of paint and glass, lead and stone.

With these concepts I approached the designs for Trinity Cathedral.  The key window seemed to be the rose window, and this I designed first, although the baptistry window was installed first.  In the rose window I found winged forms that would express the Trinity, and decided to employ variations of these forms in all the windows: first and most obvious, because the church is dedicated to the Trinity; second, by using the crystalline winged forms high up in the windows, the nave will seem to be heightened and expanded."