David Opdyke finally settled on being a sculptor after ruling out industrial design because it was too dry, and painting because it was too open-ended. The politically charged works for which he is known stem from a consciousness of the dystopian American reality that emerged during the divisive 2000 presidential elections and intensified with the dot com crash, 9/11, and its messy aftermath. Among these, Greenback (2006) is a monumental bas-relief of a dollar bill, which upon close inspection reveals thousands of painstakingly rendered toy soldiers, tanks, cannons, hospital tents, and ammo dumps. It constitutes one of several works critiquing profiting off war and exemplifies his characteristic hyperrealist style. Recently, Opdyke has concentrated on making his work less overtly political, although he continues to tackle subjects such as environmental degradation.