Archives: Projects

Comprised of more than 300 suspended chains, each link cast in the form of a hand, this installation bathes the lobby of a senior center in reflected colored light. The shape of each hand is derived from video footage and, arrayed in sequences, the hands produce the impression of human gestures.

An aggregation of mirror-polished stainless steel spheres, this sculpture operates structurally like an enormous Newton’s Cradle toy. Each ball is suspended by cable and locked into position by gravity and its neighbors, reflecting a distorted image of passersby on the exterior wall of a parking structure.

Hundreds of individual low coffee tables and three-legged stools link together to form a fabric-like surface hanging from the wall of a campus courtyard. After the run of the installation, the components were dismantled to become immediately available commodities, tables and stools returned to everyday use.

Comprising brightly colored letters formed from recycled paper pulp, this installation takes the shape of a monumental arch scaled to the size of a child. From one side it reads as a wall; from the other, a heap or pile suggesting the most rudimentary form of monument. The letters function simultaneously as building blocks and teaching tools, each infused with wildflower seeds so that when the installation was dismantled, students could plant them to create their own gardens.

Constructed solely of sprayed paper pulp, this lamp series takes a minimal approach to materiality, with the pulp forming an integrated structure and skin. The bulbous silhouette invites multiple readings, suggesting the iconic shape of a Mickey Mouse balloon or, conversely, human anatomy. The fabrication process developed for the Glob Lamp initiated a new line of material research that extended into architectural-scale installations.

Commissioned for the Guggenheim Museum’s 50th anniversary exhibition, this proposal imagines Frank Lloyd Wright’s rotunda repurposed as an industrial assembly line for transforming raw sugar cane into candy. Recognizing the building’s sequence of interconnected ramps and galleries as an ideal manufacturing circuit, the design reframes the museum’s cultural production as a literal one, with visitors moving through the space as both audience and witness to the process.

An array of vibrantly colored hanging strings spans the Indianapolis Museum of Art lobby, generating the appearance of a softly spiraling surface that twists and contorts through the atrium. Depending on the viewer’s vantage point, the work blurs into billows of color or snaps into a focused geometry.

Comprising 10,000 items of clothing manufactured by American Apparel, this architecturally scaled hanging structure uses each garment as both building component and individual article of clothing. Over the course of the Biennale, the installation was dismantled and the clothing dispersed to visitors.

Approximately two thousand individual lengths of bead chain hang under self-weight to form a matrix of catenary curves spanning the ceiling of a permit office. The chains, totaling approximately two miles, span between custom perforated aluminum panels fitted within the existing acoustical ceiling grid, forming a diaphanous metallic vapor rather than a discrete solid object.

Integrating complex digital computation, mechanization, and printing with traditional handcraft, this installation alters space with fluid architectural forms using a minimal amount of material. A proprietary technique yields the effect of three-dimensional spatial constructs printed to resemble objects hovering in space.