This work is inspired by and based on the use of angel statuary in cemetery monuments, as well as the architecture of Westminster Abbey, which, in addition to being a church, is perhaps the most famous cemetery in the world. My original plan was 8 ½ feet tall and 23 feet wide. I completed the first two panels for a group show I curated, also entitled Angels in the Architecture, which showed at Art Access Gallery in Salt Lake in 2010.

I completed the rest of the central grouping of panels for an invitational show during the Utah Arts Festival at the Salt Lake Library in 2011. The overall size was 8 ½ feet tall and 6 ½ feet wide. I was later invited to show them at the Springville Museum of Art in 2016.

On a personal level, Angels in the Architecture stands as an expression of faith in and the hope of eternal life, in the face of the degenerative chaos of death. On a larger level, the death of the individual symbolizes the end of the world — referenced by the Latin inscription, included on the central panel, from Westminster Abbey, which is a medieval formula for determining the world's end. Chaos, in the character of the ancient sea monster, leviathan, wreaks havoc on the world, bringing about its eventual destruction. Not solely a medieval concern, this concept finds currency in the modern notion of the world's end through entropy, per the 2nd Law of Thermodynamics. Jesus Christ shines as a bright star in contrast to this dreary outlook, providing salvation on a physical and spiritual level, and defeating the chaos of entropy and death, as stated in Isaiah 27:1, also referenced on the central panel: "In that day the Lord with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the dragon that is in the sea."