Schimanszky has long strived for a purification of form in his sculptures by isolating a physical attitude, or the essence of a motion, on the part of his models, while divesting himself of any concern for literal representation. 

Drawing from the traditions of occidental sculpture, he has successfully incorporated the natural elements of light and water into his work, creating the illusion of motion within the heart of his sculptures.  His juxtaposition of flat and curved surfaces, and elongated and rounded forms, successfully create a mosaic of contrasting planes, which in turn set up a natural tension within his works.  This tension is reinforced by his arresting contrast of solid against fluid forms, polished against patinaed surfaces, stone against bronze. 

His two piece sculptures, for example, concurrently suggest feelings of both dependence and freedom.  This riveting interrelation of the two pieces is introduced by the artist as an encompassing tension which in turn serves as a binding element of the works.