In the work Chimäre, two forms merge that are adjacent in a sequence of serial hand drawings.

One form is made of solid American walnut wood; its twin form lies horizontally beneath the figure as a mirror made of stainless steel—precisely where one would normally expect the shadow to appear. At the same time, it serves as the support for the vertically upright wooden figure.

The sculpture creates an oscillating space in which the themes of shadow (that which lies in darkness), reflection, vitality, uprightness, and repose fuse into a philosophical matrix. The actual shadow further accompanies the figure. Since the two forms are adjacent in their process of creation, each can also be read as the previous or subsequent state of the other.