George Rickey’s sculptures are indeed technological masterpieces, yet they read like poetry in motion. The pieces are unconventional, luring the viewer with their play on light and homage to the landscape. Fueled by wind and gravity, they dance like blades of grass in the wind. Their often towering size, gracefulness and seemingly precarious and unpredictable rhythm, mesmerize the observer. By reducing his design to geometric essentials, Rickey accomplished his objective, stating that his sculpture “should move like machines and do absolutely nothing useful.” Elements move independently: pivoting, sweeping, leaping, spinning, soaring, with slow, autonomous precision, seeming to defy the laws of nature and the laws of gravity. Their hypnotic allure is defined through dramatic crisis, “wherein one moving part narrowly misses another”.