“His work, which is rife with Surrealist biomorphisms and the rich wood tones of
Danish modern, evokes Brancusi, early Calder and Noguchi mixed with bits of
Nevelson and H. C. Westermann. But Mr. Comins accommodates these associations
with an easy sophistication and palpable integrity and an almost infallible sense of
touch, scale and composition. His way with wood encompasses its traditions in art,
furnituremaking and architecture.
His constructions, wall reliefs and free-standing reliefs have an airy, acrobatic quality.
Assembled from small, elegantly ambiguous shapes— bone boomerangs, flower
wrenches and golf-tee teeth— they balance deliciously between abstract and real,
totemic and geological, cosmic and embryonic.
Mr. Comins’ work belongs to the tradition of better-known wood artists like Betty Parsons
and Sidney Geist. Some of his smaller pieces have a whittler’s liveliness, but mostly
his burnished amalgams reflect the balance of vision and detail that any artist must have.
His works, especially the regal ’’Tower’’ from 1978, would do any museum proud."
Roberta Smith, The New York Times
and the Brooklyn Water Color Society .