The Future Stands Still but We Move in Infinite Space
Location: 1320 building (former Oregonian building), Portland, OR Medium: Mirror, etched mirror, LED light panels Dimensions: 200’ x 6’ x 2’ Year completed: 2016
Commissioned by Urban Renaissance Group and the Regional Arts and Culture Council, "The Future Stands Still but We Move in Infinite Space" was created to activate a full block of the 6th Avenue bus mall in downtown Portland, Oregon. There are a total of 36 etched and illuminated mirror boxes integrated permanently within the structure of the building. The reverse etched imagery within the artworks begins with a view of the building from above; as the viewer walks down the street the boxes reflect a progressively distant perspective of their location, ending with an image of our galaxy from afar. The piece, titled after a line in Rainer Maria Rilke’s Letters to a Young Poet, engages the concepts of time and space with the hope of providing grounding context for modern city dwellers who so often are looking down into increasingly micro universes. This installation instead attempts to draw the viewer not only to look up and engage with the piece itself, but to reflect on the human experience and our place within it all. Whether encouraging the individuals to later stare at the stars, or to stare deeply into each box where the images are reflected infinitely, this piece hopes to slow the lives of passersby and perhaps remind them of our place in time and timelessness.
Location: Peloton Building, Portland, OR Medium: Ash, Hemlock, White Oak, Walnut, Fir Dimensions: 16’ x 14’ x 6” Year completed: 2016
“Brilliant Corners” is a high relief wood wall sculpture placed in the main lobby of the Peloton Building in Portland, Oregon. The piece was commissioned to create a sense of interest and dimension within the lobby space. The handmade shapes are designed to reflect the shape of living bodies moving through space. Though the building’s design focus is on bicycling, the artists found the general peloton shapes used to describe movement in the natural world (bird flight formations, schools of fish) to relate closely to both the physical and psychological movement of the peloton in bicycle racing. The shapes represented in the carved wood elements are examples of various peloton designs found in the natural world.
Location: Peloton Building, Portland, OR Medium: Etched glass and colored frit Dimensions: Various Year completed: 2016
“Commuters” is a permanent exterior glass art installation along the N. Williams Avenue bike corridor in Portland, Oregon. The artwork consists of 23 panels ranging in size from 4’ to 10’. The panels have had 2-6” grooves etched into their surface and these grooves have been filled with transparent colored frit. The frit reacts to the ambient daylight creating a sophisticated glittering finish. The installation is channel lit from below and glows warmly during the night creating subtle interest passing by. The artists spent time on the site watching the commuters and daily users pass by on their bicycles. This research led the artist to base the final design on the diversity of the wheel sizes that they saw pass by. Through this simple observation the artists realized that all age groups and skill levels of bicycle riders use the N. Williams bicycle corridor. The final panels were created to represent these daily commuters (families and individuals), racers, and joy riders who use the corridor.
Location: Student Recreation Center, University of Oregon, Eugene, OR Medium: Anodized aluminum, mirror, two-way mirror, resin, paint, LED Dimensions: 100’ x 42’ x 3’ Year completed: 2016
“Transitional Objects” is a permanent art installation in the Student Recreation Center at the University of Oregon. The artwork consists of fourteen anodized aluminum infinity mirror boxes of various sizes hung salon style on the great wall of the recreation center. The works are visible from all three levels of the facility. The interior of each box is lined with mirror panels and each box has its own internal light source. Within all of the boxes are objects which are used for athletic activities at the recreation center. The activities represented include basketball, soccer, badminton, climbing, football, volleyball, track, weightlifting, and tennis. The objects are either of a larger or smaller scale than the actual equipment, and were created using an archival 3D printing process. They are painted using specialty archival paints and are accented with nets hand made of archival textile materials. The athletic objects are placed within each box in such a way as to suggest weightlessness—they appear to float. Viewed from the front of each box through a two-way mirror the effect of the mirrored interior around the objects creates a repetition of the object into infinity. The represented sports equipment repeats in all directions depending on the angle from which the viewer approaches the box. When the artists spent time at the SRC during the research phase of the project they noticed the focus and determination of the users of the facility as they walked passed the great wall from one activity to another. The artists wanted to respect this focus while also creating a sense of wonder and intrigue if the passersby chose to engage in the artwork. The work is meant as a reminder of the many games and activities connected to the SRC that can and will be engaged in. The mirrored repetition and suspension of the objects is a reminder of the importance of movement and perspective for the body and the mind.
A memorial for DeNorval Unthank installed at the University of Oregon’s School of Architecture and Allied Arts Department at Lawrence Hall. 2015
Thin Blue Line
Commissioned by the Clackamas County Arts Alliance and the city of West Linn, OR “The Thin Blue Line” is a three-part installation in the lobby of the West Linn Police Station. The installation consists of a 120”x96”x1” panel of glass with five shades of blue cathedral glass laminated to the surface. This panel has a sandblasted and paint filled “thin blue line” running through the middle. A second 96”x72”x1” panel of glass in the center of the lobby has been etched to create a city outline highlighting points of interest throughout the community. The 60”x60”x7” back wall panel is an aluminum cut outline of the topography of the region. This topography map is backlit with blue LED lighting. The installation is viewed as three separate pieces that work alone as well as together to give one a sense of place. The three ways of seeing the installation are meant to remind the viewer of the different layers of experience working together to create community.
Title Unknown, 2014
Stanford BioE-ChemE Building, Stanford, CA, 2014
A collaboration with Felt Hat Design for the Bioengineering and Chemical Engineering Building at Stanford University, "Title Unknown" is a 192” x 192” grid installation of 5001 paper balls, installed to create four different geometric patterns. Printed on fully archival paper, individual syllabi of the bioengineering department were sculpted into specific 2” spheres. These balls were then dyed a combination of three colors and mounted flush to the atrium wall of the building. Once installed, the grid creates four distinct colorful patterns, as seen from four separate angles. While traveling thought the atrium on three different levels, a maze of each specific color—green, blue and red—appears. From the left side of the installation a maze appears that is green and angular; from the right, the maze is blue and the lines are curved; from below, the maze is red and a mixture of straight lines and curves. The solution to the maze can only be found when looking up from below.
All that is Solid Melts into Air
University of Oregon, Anstett Hall and Peterson Hall, Eugene, Oregon 2013
Commissioned by the Oregon Arts Commission for two mirrored stairwells in the University of Oregon’s graduate school of business, “All That is Solid Melts Into Air” is an 80” x 80” installation of two separate grids consisting of 100 handmade acrylic resin cubes. Each transparent cube encases either an origami-folded dollar bill, sculpted by artists Midori Hirose and Noell Horne, or a stack of various coins equaling one dollar. Presenting currency in this fashion--abundantly visible, while removed from circulation--demystifies money as an object of desire, while simultaneously heightening the fetishistic status routinely bestowed on it. Here, the dollar bills or coins are plainly themselves, but imbued with aesthetic value, they amount to more than themselves: painstakingly folded into beautifying forms and preserved as precious specimens.
This is a Plumb-Bob
Portland State University, 2010
"This is a Plumb-Bob" is an installation in Portland State University's Shattuck Hall commissioned by the Oregon Arts Commission, which houses the architecture department. As an instrument used to determine true verticality, the piece is a symbolic reminder for students of the importance of orientation and perspective.
FBI Headquarters, Houston, Texas, 2009
Awarded best public art of 2009 by Americans for the Arts
A GSA project for the FBI headquarters in Houston, Texas, “Gesture Politics” is a 26’ x 40’ installation situated in the main lobby of the building. Incorporating a technigraphic interlayer of trees and telephone lines, and rear projected films of greeting gestures performed by actual FBI agents, the work humanizes the Bureau, while also alluding to their responsibility of protection and investigation.
Wayne L. Morse Courthouse Commission, Eugene, Oregon, 2007 Winner of the 2008/09 Federal "Excellence in Design Award"
A GSA project for the Wayne L. Morse Courthouse in Eugene, Oregon, “Jury Pool” was a survey taken of 162 members of the community serviced by the courthouse. These volunteers were asked their favorite color and place in Oregon. Their portraits were etched into the glass, and a circle of tinted glass was laminated behind the portrait to reflect their color. On the corresponding door their favorite place was etched as a G.P.S. coordinate. When the doors are fully opened, the three layers of information overlap to make a complete portrait of the individual. The piece was placed as a wall for the jury assembly area. A map was provided to act as the key.
A U.S. General Services Administration commission for the Wayne L. Morse courthouse in Eugene, Oregon, “Jury Pool" was created through the surveying of 162 members of the community serviced by the courthouse. The survey answers were represented graphically as a permanent sliding glass curtain wall for the jury room.