Archives: Projects

This large customizable digital glass clock is programmed to display time and weather using a combination of colored and switchable glass. It can be set to read directly or mirrored in reverse as a projection on the ground, functioning reliably under the high winds, heavy traffic, and harsh weather conditions of the Colorado rail station.

Paying homage to the simpler days of baseball, taking cues from the mythic image of kids catching a glimpse of a ballgame through a knothole in a wooden fence, this work links the ballgame, a playground, and the street. It provides the security of a partition while facilitating coincidental encounters with the game from the sidewalk.

This installation exists as both object and atmosphere, its appearance shifting with the quality of light and the movement of the viewer. Amid the constant motion of the airport, it offers a moment of pause, a place for reflection and daydream.

Pulling the themes of water and fluidity into a two-story interior lobby, this installation resembles a thickened atmosphere of waves that is neither solid object nor emptiness but has qualities of both. Several thousand segments of custom-dyed stainless steel ball chain form an intricate system of overlapping catenary curves that morph in appearance with the viewer’s vantage point.

Derived from a photograph that alludes to the spiritual dimension of water and its capacity to be both healing and foreboding, this work comprises over thirty thousand powder-coated pixels rendered as reflected light on brushed stainless steel fins. The quality of the reflections transforms with the changing seasons and the location of the viewer relative to the work.

A body of luminous radiation projecting from the corner of a building, the piece conjures images of the human aura in historical artwork or the effects of magnetic forces in scientific literature. As the viewer moves along the boulevards, the reflection of moving cars and changing lighting conditions transform the appearance of the artwork into effervescent light.

Taking cues from leather biker jackets customized with studs and spikes, this hovering surface of crumpled stainless steel is layered with a field of studs that imbue a unique geometry across its surface. The studs also serve a structural purpose, increasing the weight of the installation to nearly 4,000 pounds to resist uplift from wind loads.

Designed as a single large organism, this park links various interdependent areas through resource sharing and circulation systems including water collection and redistribution. Its design integrates creative learning opportunities into virtually every aspect of the park, educating visitors about natural ecological processes and sustainable practices.

Wall Text:

The boundaries between cultural disciplines are not easy to cross. A guy who studies sculpture and goes on to create furniture will probably never see his work in the MoMA design collection. An architect who refers to her installations as “art” will undoubtedly provoke derision from the ranks within the fine arts academy.

In determining a title for this installation, one reason Radiant came to mind is because the figures illuminate the space within which they are situated. Body seemed appropriate because we explored the human figure; and Glob because we developed a process for producing the work in paper pulp – formless oatmeal-like goo commonly used to make protective packaging for consumer products.

Each of the three figures in the Radiant Body Globs installation—Figure Head, Come to Mama, and Grandpa Lost his Cane—can be displayed as part of the installation or individually as a sculpture or lamp.

Created for the Exhibition Almost Anything Goes: Architecture and Inclusivity at the Museum of Contemporary Art Santa Barbara (2014)

Commissioned by the Nevada Museum of Art for an exhibition (Modernist Maverick) surveying the architecture of William L. Pereira, this work is an interpretation of the Transamerica building rendered in stainless steel ball chain.