McGilvray's process is formal and intuitive and the resulting creations are evocative rather than representational. In some works such as the large-scale Circle Column the forms are wholly geometric and the resulting image is totemic a la Brancusi or David Smith, The piece Spin Cycle exemplifies McGilvray’s more evocative imagery. Its whimsical shapes are pure abstraction, yet their placement within a circular dynamic composition suggests the swirl of a washing machine. Some of McGilvray’s most characteristic sculptures possess figurative associations. In Three Sisters and Sunbather the components are whimsical and abstract but the resulting illusions are gracefully anthropomorphic. Works such as Blue Moon and City represent another genre of McGilvray’s sculpture; the landscape relief, perhaps her closest flirtation with a symbolic romanticism. These works often harken back to her past in New York City where she studied at the Art Students’ League and the New School and carry a hint of the age of Deco glamour, Whatever the subject Mcgilvray arrives at, it is the highly crafted formal integrity and playful visual poetry that unites and defines her sculpture. She always provides the viewer with the opportunity to experience a transformative moment as we go beyond the parts to see the whole. And if we go further we can see the confident hand and vision of a person dedicated to her work. As a measure of her commitment McGilvray keeps insisting that her artwork grows and evolves, injecting new ideas, techniques and materials all the time. Outside her studio the birds sing in the high leafy trees and the cool Pacific breeze floats through her garden. Inside, Camey McGilvray flips on her saw and begins another creation.
					return**