In 2012 I began work with the Port of Seattle to design the shape and content of the public access portion of a massive habitat restoration project at the former Terminal 117 site in South Park. Placing the environment and community access to the river at the forefront of this work, art elements include sculpture, seating, bicycle parking, interpretive signs, and other site-integrated components. Construction has begun and is slated for completion in late 2021.
Click here for a web optimized version of the Art Plan for the Duwamish River People's Park, which was completed in early June 2020, prior to the official renaming of the site.
2018
Commissioned by Vulcan, Inc. for Batik Apartments Lobby, Seattle, WA
Floral forms influenced by patterns and textile design are encrusted with hand-stitched vintage beads reclaimed from the costume jewelry waste stream. These modular elements unite labor intensive, organic handwork with mechanized production from industrial materials, resulting in a monumental work reaching nearly 11 feet in height.
Kits of parts were distributed to elders on Bainbridge Island, who created individual elements that were woven in to a large scale garland, parts connected to an integrated whole. The acts of distributing, making and collaborating counter the isolation that particularly impacts many vulnerable members of our society and that has been heightened during the pandemic. These personal creative acts are translated into a narrative that both embodies and represents growth, adaptability and the power of community and values the richness of the sensual.
2017
Commissioned by Seattle City Light with Seattle Office of Arts & Culture, South Park Neighborhood, Seattle, WA
Significant thematic threads connect Conduit to Seattle City Light’s T-117 Adjacent Streets Project and the mission of its Green Initiative. The translucent grid that lights up with direct sunlight that is seen in the vertical sculpture illuminates the infrastructure Seattle City Light supports, and references the woven fishing weirs historically used by the Duwamish people on this river. Circular patterns in the artwork elements located throughout the site illustrate cut ends of high voltage cables and suggest both interconnected strands of community bound together and the constant flow of energy. Colors and surface treatment of this sculpture, the stamped sidewalk and cast benches along South Donovan Street also underscore water’s central role as the primary energy source for Seattle City Light, and the natural meander of the original path of the Duwamish River.
2016
Metalmorphosis, Bellevue Arts Museum Metals Biennial, Bellevue, WA
Studio sculpture built with public art scale and technique for the Court of Light at BAM.
From the artist's statement:
I rely heavily on botanical forms as a point of origin from which to explore relationships between environmental systems and human behavior.
This installation expands my studio practice focused on handworked metal by incorporating approaches more commonly seen in my public art practice. Increasing the scale of the work and using industrial and crowd-sourced fabrication extends the potential to create physcially immersive work that inverts the jewelry relationship of human to object and invites the viewer to wear or be worn by the work. Beauty and meaning are held in tension in this work, challenged by visual reference to plant pathogens and the material palette of industrial steel strapping and tie wire, and celebrated in the detailed surface treatment and persistent evidence of the hand.
2011
Commission for Stone34, located at 34th Street and Stone Way, Seattle, WA
This series of artist-designed bike racks references a graphic and stylized storm front punctuated by sun.
Waterjet cut and powdercoated steel, 3Form resin, fabricated by Ryan Landworth
2007
Installation for Webster's Woods, Port Angeles Fine Arts Center, Port Angeles, WA, curated by Jake Seniuk
Placed to be an element of surprise along the trail through the woods, this piece references bright fungal growth and a vast cluster of berries.
Nurse log, resin beads, brite steel nails
2017
ArtsWA Art in Public Places Commission, Snohomish High School, Snohomish, WA
The constant flow and sinuous curves of the Snohomish River are both inspiration and metaphor for this work. A series of five cast concrete cylinders with resin tops, these pieces were created as freestanding
sculptural elements that double as seating perches in the green space adjacent to the school’s Promenade. The concrete was cast on site with gradated colorant, ranging from dark at the ground plane to light at the seat top, visually suggesting pier pilings marked by the fluctuating water levels of the river. The resin tops are cast in shades of blue and green and
grey, calling up the range of colors seen in the river at different seasons and under different skies. The surface of each resin seat has been textured in a meandering “S” shape reminiscent of water flow.
Fabrication support and site construction from Advanced Landscape Management, Snohomish, WA.
2008
Magnolia Public Library, with support from the Libraries for All Levy, Seattle, WA
This pair of woven sculptures relates the exterior and interior of the meeting room at the Magnolia Library through its significant south-facing window. The interior branch is suspended from the ceiling at a slight downward angle, gesturing toward the window, and the basket is outdoors, viewable from the low window sill.The madrona tree around which the original library building and landscape architecture was designed provides the conceptual framework for Catch + Release. The title refers to the actions of fruiting and gathering, paired activities of [both] nature and humans that work as a metaphor for the relationship between library as information provider and patrons as collectors and disseminators.
2011
Storefront installation at 409 Maynard Avenue South, Seattle Storefronts Program, Seattle, WA
Time-based project that morphed with the change of seasons from neutral colors to blooming in red and pink, this piece concluded with a giveaway of sculptural elements and a request for participants to photograph the final placement of their chosen artwork.madrona branch, encyclopedia pages, paint, wire, glass, theater gels, beads, waterjet cut aluminum, wood
2007
Montlake Community Center, commissioned by the Seattle Mayor's Office of Arts and Culture with funding through the Community Center and Pro Parks Levies, Seattle, WA
WaterLogs + Leaf/Hull are a parenthesis of sculptures created for the center’s entry plaza: an ingress for visitors to the center and a connector between historic and contemporary architecture on site. The plaza score lines – placed to link the site with nearby Portage Bay and to contextualize the sculptures – were artist-designed and frame the relationship of the sculptures on site to both land and water. Leaf/Hull references both botany and boats; the laser-cut slits suggest a pattern of log booms from the past. WaterLogs was carved by hand by the artist out of wood reclaimed from 70 years on the bottom of Lake Union, the textured surfaces suggest a high water mark and barnacle accretion.
2004-2011
Site-specific, sound-based installations in the scout cabins at the Museum of Sound, Art in Nature Festival, Camp Long, West Seattle, curated by Nancy Whitlock.
Field recordings, poetry, waterjet cut aluminum, flowers, bread, water, embroidered wool blankets
2008
Commissioned by City of Kent Downtown Association, Kent, WA
Series of bicycle racks designed to reflect the greening of the downtown core and to promote a secure and attractive location for bike parking.
Powdercoated and hand painted steel, hand-cast resin
2006
Urban intervention celebrating the launch of the battery recycling program for the City of Chicago, Art 42:44, curated by Stuart R. Keeler.
Hand sewn costume, recycled bottlecap brooches, and music by the Polish-American Accordion Association
One-night room installation for In(n) and Out of Nowhere, CougarLand Motel, Pullman, WA, curated by Samantha DiRosa.
Artists were asked to utilize a motel room as the container for a 24-hour art piece. This work draws on ideas around transition, motion and the relative luxury of a place to rest.
Vintage maps, encyclopedia pages, bedding, projected image, birdseed
2004
Site-specific installation for Art in the Meadow: Whispered Conversations with the Land, Blakely Harbor Park, Bainbridge Island, WA, curated by Carolyn Law.
Woven blackberry cane (live and dried), vintage rose bush
2003