Antennae Reeds

Nordheim Court, Seattle, WA

10’x 20’x 35’h; aluminum, LEDs, Urethane Resin, specialty paint; 2003

A dramatic cluster of large tapered poles with frosted tips quake in the wind like giant industrial “reeds” on steroids. The rods are painted fire engine red that fades into a sky gray at the tips. In the evening the tips glow an intense blue to match the color of the Fiber Optic Reed project in the nearby pond. Both projects evoke a sense of transference of knowledge and information (antennae, fiber optics) and the use of high tech materials in juxtaposition to nature.

Antenna Reeds is a companion piece to a project called Fiber Optic Reeds that is also on the Nordheim Court property. Both projects address transmission of knowledge and data as well as the importance of good communication skills...a few of the important things learned in university...as well as linking technology to nature in a very hip urban environment.
 
Special Thanks to Kevin Furry, The University of Washington, Lorig, Kurt Kiefer, Sign Tech

Portals

Beacon Hill Tunnel Station, Seattle, WA

Video, monitors, LED lighting, cast glass, Stainless steel, computer control; Sound Transit Beacon Hill Tunnel Station, 2007.

55 glass hemispheric “portholes” create an animated wall in the elevator lobby of the 2nd deepest light rail station in N. America. Behind the hemisphere lenses are video monitors and lighting that simulates portals into outer space, the microbial worlds and the deep sea. Video footage includes source material taken from NASA's Hubble telescope, Deep sea Alvin footage and microscopic video. The images are to prompt the viewer to question the scale of the various images...in the context of being deep inside the center of a hill.

A variety of distorting "holographic" lenses with moving video.
Special thanks to Sound Transit, Barbara Luecke, Andy Moniz, Paul Strong, Steve Monsey

Echo/Raindrops

Washington State Capitol,Olympia, WA

20’d; black concrete, fiber optic cable; 2005
This project was part of a 6 acre campus Landscape design (design team member) with multiple Art Elements and Art Master-planning. The central plaza contains black concrete and +2000 fiber optic points to create a dynamic kinetic display of echoes and raindrop patterns. Surrounded by planters of black bamboo, this central hub provides a quiet respite to the East Capitol Campus

Waterbottle

McClintock Dr / Apache Blvd Station, Tempe, AZ

Waterbottle Chandeliers
Neon, water bottles, steel; 2009 Tempe AZ for METRO

A series of illuminated “water bottle” chandeliers marks the top of the Metro Valley light rail station. The new adage: “water is the new gold” draws attention to the preciousness of every water drop in the desert. Enlarged “compact florescent” shape neon tubes, cause the water bottles to glow a range of blue colors, providing a nod to both energy savings and ecological stewardship.

Special Thanks to: METRO, MB FInnerty, Shannon Owen/ Art In Metal, Dave Glover/ Natural Lite Neon

Saguaro Soul

Dorsey/ Apache Blvd Station, Tempe, AZ

Cast Bronze, chrome, Steel, LED lighting, paint; 2009

Designed for the Metro Valley Rail, a saguaro cactus skeleton forms the basis for this sculpture emerging from its black frame. The cactus (a cliché of the Sonoran desert) is chromed (a fetishized symbol of the AZ car culture) and placed inside a black display box located at the light rail stop in the center of the roadway. At night the cactus is illuminated referencing neon used under cars.

Detail image of chromed cast bronze.
 

Special thanks to METRO, MB Finnerty, Mickey Laurent/ Highlight Electrical and Tyler Fouts/ Blue Mountain Fine Art, Kevin Furry/ Kiboworks

Sunrise

Gresham, OR

Rockwood Sunrise
Steel, paint, fiberglass, LED lighting, triggering system, etched glass patterning; 2011

Referencing the 1st Multnomah County Fair, Latino Cultural iconography and the sunrise (from Portland’s perspective), these giant colorful fans produce kinetic moiré effects as one passes by. Triggered by approaching trains, the fans produce dynamic color sequences for 5 minutes before shifting back to aqua colored tips.

Rockwood's ethnically diverse community is composed of many Asian and Latin cultures. This area was also the home to the 1st Oregon State fair. The colors, patterns and spirit of the project seeks to energize and help support a revitalization of the neighborhood.

Etched safety glass patterning for the transit shelters was also a part of this project.

Special thanks to Heavy Industries, Trimet, Kevin Furry/Kiboworks, Craig Nelson/ PMCS, The City of Gresham OR, Mark Mikolavich, Michael Parkhurst, Greg Coons, Jeb Doran, Mary Priester and Lance Erz

 

Coded Louvers

Price 101/Apache Blvd Station, Tempe, AZ

Linear edgelit, LED Lighting, photo cell, electronics; 2009

Designed for Metro Valley Rail in Tempe Arizona, this project was inspired by the coded languages used in this area (Navaho Code talkers and Morse code.) A cyphered poem inspired by the area is translated into Morse code and written on the leading face of the louvers of this station. Each side of the station has different colored scheme for way-finding purposes and the “bleed through” of color and ciphered text echos the bright colors of traditional Mexican blankets.

Special thanks to MB Finerty at METRO and Mickey Laurent/ Highlight Electrical

Language Carpet

Smith Martin/ Apache Blvd Station,Tempe, AZ

Carpet of Languages
HID ellipsoidal projectors, weather enclosures, Gobos, sensors. 2011

There are over 70 languages spoken in this very diverse and international community. This light sculpture is composed of snippets of text taken from letters to grandmothers in 9 of these languages. These phrases are projected onto the walkway to the station- literally walking through script and words from many cultures like walking the halls of the United Nations.

Special Thanks to: METRO/ MB Finnerty, Berndt Stugger and PNTA

IV Fire Columns

2'd x 6'h; Glass tubes, IV tubing, water, fire

The Sculptures were designed as "guardian" door pieces for the side of a medical building. Glass columns contain water and IV tubing. Below illuminated gas bubbles rise to the surface and erupt into flame.

Honey Dippers

Seattle, WA

Mixed Media with electrical bushings, bushing oil, and kinetic mechanisms; ©2003

Electrical insulator bushings raised and lowered like pistons out of plexiglass tubes filled with glowing electrical transformer fluid to conjure images of giant honey dippers. This was part of an exhibition located in an abandoned steam engine driven electrical power plant. Special Thanks to: Jeremy Edwards, Steve Monsey, Kevin Spitzer, Seattle City Light and the Office of Arts and Cultural Affairs

Drip IV

Seattle, WA

3’l x 3’w x 8’h; Steel, IV tubes, resin, fiber optic lighting; ©2008

Drip IV with light blue light. As this sculpture is illuminated with a fiberoptic lighting system, the color of the IV bags and dripping can be changed with colored filters applied to the lighting engine.

Drip IV white light detail

Drip IV at home

Drip

Seattle, WA

18" x 36" x 75"; Glass, Resin, Steel, Lighting; 2008

Drip I Detail

 

Corner Drip detail

Drip II

Very special thanks to Martin Blank of Martin Blank Studios and his team.

Tech.Waterscape

Skowhegan, ME

Florescent tubes, theatrical filters, electronic equipment, lake: ©1991 
The project was composed from 6-8 foot long fluorescent tubes 10 feet under water, 100 ft offshore that were colored the hue of blue bioluminescent water creatures. The tubes appeared to float 3″ above the lake surface when the weather was calm. On other occasions, the light provided blue lightening like patterns, and when storms created swells, the waves were filled with volumes of blue light, and then returned to darkness.

 

 

 

 

 

Mahalapu Floats

Kauai, HI

Glass fishing floats, chemiluminescent fluid: ©1997
A timed exposure of the glass floats as they decended down the stream into the ocean.

Japanese fishing floats were filled with chemiluminescent fluid and floated en-masse down a stream back into the ocean from where they were last found.

Star Landing

Black Rock Desert, NV

300′ x 250′ , Black Rock Desert Nevada,   LEDs, batteries, playa (dried lakebed) floor

 

Hundreds of green blinking LED’s were buried in the desert floor in a large star landing strip pattern. Not visible in the daytime, the large area became a visual pulsating magnet from many directions in the evening hours.

Special thanks to : Steve Monsey, Jeff Larsen and the installation crew.

P. A. M.

Black Rock Desert, NV

30'w x 50'l x 1'h: neon, flame: © 1996

Post Apocalyptic Mythos was a temporary environmental installation created for the Burning Man Project in an expansive dry lakebed desert. Neon wave forms were top painted to focus blue and turquoise light into the sculpted troughs. Fire erupted from another rippling trough, and a red neon snake matched the other light emitting undulating forms.

Imagery for this project was inspired by a previous exhibition in Prague titled Jeskyne Ohniveho Draka or the "Grotto of the Flame Serpent"

Special thanks to Jeff Larsen and John Lewis

Mandala

Sunset Cliffs San Diego, CA

35', 2'h; d:pvc luminaria, flame, cliffside ©1989

diamond luminaria detail.
This fire medicine wheel was created as a temporary installation at the summer solstice on Sunset Cliffs in San Diego.

Veiled Aquifer

San Diego, CA

10'h x 50'w x 50' d; 5-gallon water bottles, water hyacinths, dirt, found pollution, fog misting syst89em, water, night lighting; ©1989

Veiled Aquifer Mist detail. The project was a 3 month public installation.

Trace

Ucross , Wyoming

Flourine Dye, river, : © 2001 / Ucross Wyoming

Created at the Ucross Foundation artist residency in Ucross Wyoming, a fish-safe Fluorescent water tracing dye is added to a river to make the invisible currents visible. The toxic looking (antifreeze colored) dye transform this beautiful prairie river into something more curious and almost sinister for albeit a brief time. The art-action reveals the usually invisible patterns of water movement, eddies and currents. This dye is safe for fish and wildlife but creates a beautiful and highly disturbing ephemeral gesture within the landscape.

Night Fire Swim

Skowhegan, ME

3'h x 35'w x 10'd and lake: water, propane flame: ©1991

NIGHT FIRE SWIM was a temporary interactive sculpture in a beautiful lake in Skowhegan Maine. A 10' wall of gas-filled white bubbles was created under water. At the surface they erupted into 3' h flames above the lake surface. The audience/participants were urged to swim to the fire. Under the surface, when they passed (swam) through the white wall of bubbles, the sound was like breaking icicles as they looked up to see the fire burning over head. The viewer/ participants then, being wet, could approach the flame without fear of being burnt. They could pass their arms through the bubbles allowing the flame to crawl over the arm without being burnt. Then they learned to control the fire patterns by manipulating the bubbles' direction under the surface of the water. This project was designed to somewhat bypass the traditional cerebral cortex and to access that more primitive aspect of our brain stem... allowing us to access a more visceral and direct experience.

Oscillating Field

Seattle, WA

125' x 250': lasers, fluorescent fiberglass, paint: 2009 Photo credit: Cory Scherrer

OSCILLATING FIELD is a temporary sculptural installation sponsored by Sound Transit. There are 11 different programs that sequence over a 35 minute loop. In the daytime it takes the form of a grass field, a hedgehog's back or a glowing yellow mist, while at night it transforms into a thousand surfaces for the dynamic play of an emerald green laser. Every night between 6pm and midnight, the lasers illuminate the sculpture with a range of dynamic patterns and animations.

The exploration of topography and dynamic patterning over a large space transforms a once desolate parking lot into a delight of light, movement and magic. The project is composed of over 3300 florescent fiberglass stakes cut in 6" increments from 3-8' high. The top 6" of every stake is painted with florescent Orange "construction" paint, allowing the "skin of the field to be clearly discerned.

The project is at the site of a new Sound Transit Light Rail station, and the sculpture was funded to activate the construction site and celebrate the kick off of the new station. Photo Credit: Corey Scherrer

Deep special thanks to: Sound Transit, Barbara Luecke, Jeff Silverman at Nth Degree Creative, Corey Scherrer, David Marine, Steven Hudosh, Kevin Spitzer, Andy Moniz, Jo Moniz, Ryan Wong, Berndt Stugger

Invisible Ink

Seattle, WA

Set design; ©2001

Invisible Ink, a show about the life and mystery of Mata Hari. A touring set production created for the House of Dames Productions. This production debuted at On the Boards, SeattleSet design.

Djinn

Seattle, WA

Set, lighting and projection environment and design concepts, For Multiple sites; ©1999

Djinn Scenography and design concepts created for House of Dames and Annex Theatre. This project "kidnapped" the audience and drove them on a chartered bus with blacked out windows to an abandoned military base. The audience was moved through a number of different spaces within the building and sometimes separated from each other.

Selecting giant wherehouse spaces for the project, allowed for large moving set pieces and monumental scale juxtapositons. This image shows a giant 30' x30' smoke filled projection screen that moved 100' towards the audience via a giant overhead crane.

Djinn eyes

Creepy industrial CIA like military office spaces created as part of the set environments

Sub Rosa

Seattle, WA

Sub Rosa Set and Lighting Designs created for Alice B Theatre & House of Dames Productions at the Pioneer Square Theatre.

SubRosa- Scenography for this project created surreal performance environments and set up unusual audience-performance relationships throughout the piece.

Goblin Market

Seattle, WA

Set, projections, lighting design, concept design; ©1999

This project was for a production at ACT theater in Seattle. The set and lighting design was constantly shifting in fluid, dreamlike environments. Here, glowing fiber optic reeds emerge from the floor of the stage set.

Illum. / Enlighten.

Seattle, WA

12'l x 8'w x 12'h; Mixed Media, color filters, fluorescent tubes, wire, candles, dirt, dry pigment; ©1992 This installation uses various forms of "illumination" referencing earth mounds, religious candle lighting and quantum physics. An artistic meditation on the intersections between quantum physics, Victorian color theory, Indigenous religions and Eastern and Western religion candle lighting rituals.

Flame Serpent

Prague, Czech Republic

Multi-room installation, snakes, fire, music, incense; ©1995 The Grotto of the Flame Serpent (Jeskyne Ohniveho Draka) was a solo show at the 13th century catacombs attached to the Bohemian Arts Gallery. Various rooms told the story of a fictitious religion's creation myth. Highlights of rooms: SNAKE CAVERN- The stone carved out room was covered with 4" of black sand. Partially uncovered orange neon snakes illuminated the room. The CENTRAL ROOM contained a live snake tabernacle, cast glass snakes/ fulgurites (fused glass shapes created when lighting strikes the sand) and other oracular devices, The ORACLE CHAMBER (in distance). The ORACLE CHAMBER contained a floor was made into a pond 1 foot deep. Subaquious gas jets provided a constant flame that shifted into random patterns as the bubbles broke and caught fire on the surface. This room was very hot and sauna like

Interior of the live snake tabernacle. The interior of the box was carved, burnt and gold leafed with the fictitious mythological imagery.

Part of the underground catacombs, the SNAKE CAVERN contains red neon snakes under a bed of black foundry sand.

Hydrolux

Prague, Czec Republic

20'w x 20'l x 12'h; Mixed Media; ©1995

A series of 2' diameter water lenses filled with colored dyes. Some of the lenses utilized low voltage lights to project and focus lights onto the gallery walls. Other lenses (not shown) used artist-made oil lamps to project the moving patterns of fire-light onto the walls. Referencing ancient lenses, lace-making magnifying glasses and limelight projectors, light and flame sources close to the glass magnify and direct the light to the wall. Victorian healing color and light theory matched specific colors to symptoms. Standing in the colored light was said to heal you of your condition. This practice led to the popularization of stain glass windows in residential homes in America and the UK.

Smash

Seattle, WA

5' d; wrecking balls, gallery wall, contact microphones, subwoofers, and sound modification equipment; 2001

The final gallery exhibition was inspired by the imminent destruction of the Consolidated Works Gallery. The 2- 5' diameter "wrecking balls" hang on giant chains on either side of an exhibition wall. The wall and balls have microphones in them so as the audience smashes the balls through the wall (destroying the wall) the tone of the balls striking the walls or each other are then modified and deepened through amplified subwoofers and re--verb that echoes the resonant "smash" throughout the building.

Special Thanks to: Meg Shiffler,John Nissen, Pacific Industrial Supply, Aaron Welsh, Kathleen Sidwell, and the Conworks installation crew

Generation

Seattle, WA

A series of 22' long cobra head streetlights, steel, lighting; ©2003

Many contorted “street light sperm” danced through the “generation facility” of the Georgetown Steam Power plant. A giant “cleaving egg” projection recounted the turning wheel of the steam plant’s engines as well as a egg dividing.Views of the complex overlapping patterns can be seen from the upper floor. The circle of light had rotating bisecting lines, mimicing a cleaving egg as well as referencing the giant flywheels in the other room.

Special Thanks to: Jeremy Edwards, Lynne Moore and the SCL Steel Crew,Dura Coatings Inc, Kevin Spitzer, Omar, Jeramy Brennan McGuigan, Allen Diego, Laurie Geissinger,Seattle City Light and the Office of Arts and Cultural Affairs. Photo Credit: Sidney Genette.

Vibrating Indigo

Seattle, WA

theatrical gel, rope, paint, wood, steel: ©2008

The two linked projects for the Seattle Artopia event, Vibrating Indigo and Spatial Matrix 599nm transforms the old brewhouse using theatrical gels to isolate the light entering the space to the frequency of one color. Besides the visceral effect (perceived or actual) of bathing a singular wavelength of color on our body, a psyco-physical experience called “retinal fatigue” will happen if one stays in the room for a few minutes. As you exit the space, the complementary color will color the world outside creating the perception of the world being bathed in golden light. The project also references ancient chromatotherapy theories and Egyptian Temples at Heliopolis.

Spatial Matrix, the 599nm project utilizes repeating dashed patterns in space that form corn-row effects and interference patterns both amplifying and limiting a 3d- space. The sunlight filtered from the theatrical gel covered windows causes the black rope to disappear and the "Safety Orange" paint to fluoresce and enhance the floating effect.

SPECIAL THANKS to Jordan Howland, Gabe, and the great install crew. The project was created for Artopia in the Georgetown neighborhood in Seattle WA

Grotesque

Suyama Space, Seattle, WA

Steel, EL tape, theatrical gels, mylar mirror, water, dripping system: ©2009

The word grotesque comes from the word grotto, the distortion or warping of an image that is reflected in the water of a cave. The title is further defined with the addition of Arabesque: an elaborative application of repeating geometric forms that often echo the forms of nature. Here the arabesque framework articulates a repeating pattern of contour lines that define the interior of the cave, complete with stalactites. The contour lines glow with electroluminescent ribbons of aqua colored lighting mined from rare-earth phosphors. Dripping water distorts the architectural arabesque into a grotesque dance of light and dark.

GROTESQUE ARABESQUE is an immersive art environment transforming Suyama Space into an otherworldly, light-filled cave created by turquoise-colored electroluminescent tape on meticulously bent, contour-drawn flat bar steel. The glowing cave ceiling is amplified by and reflected in a large reflecting pond below. A saturated indigo illuminates the space through dark blue filters covering the gallery skylights, while a 25 foot wide mirror multiples and further distorts the experience.

Grotesque Arabesque was inspired by Corson’s visits to a series of caves in the Yucatan as well as Etruscan grottos, catacombs, and cisterns he explored during a residency in Civita di Bagnoregio, Italy in 2008. Caves hold an extreme fascination for the artist, primarily because they represent for him a threshold into another world, connecting us to the unconscious and to the dark mystery of Nature.

I want to extend my deep thanks and appreciation for the following people who without their help and support this project would not have happened. Beth Sellars, George Suyama, Jym Snedeker, David Verkade, Paul Strong, Matt Sellars, Ron Fujimoto of Fujimoto Landscaping, Jason Thompson, Thomas Carrol, Jordan Howland, Gabe Stern, Michele Lynn, Jerry Raitzer, Miriam Larson, Sven Larson, Todd Metten, Dave Meisner, Berndt Stugger, Tom Harman, Tom Mattausch, Jay Deguchi, Ric Peterson, 4culture, Barbara Goldstein, and all those at Suyama Peterson Deguchi who kindly endured the long build and installation.

Grotesque Arabesque is made possible through funding from 4 Culture Arts Sustained Support, City of Seattle Office of Arts & Cultural Affairs, the Suyama Space Friends, and was curated by Beth Sellars in partnership with Space.City. Artist support is provided by a special project grant from 4Culture. Photo credits: Frank Huster, Will Austin and Dan Corson

Snaking Root

North Bend, WA

Snaking Root Ceiling/ Dendritic Root FloorMixed media, various spaces; ©1994 designed, Opened 2001

A Large complete root system with attached illuminated argon and krypton gas filled root-forms are suspended from the beams and ceiling of the Lobby area. The "neon" tubes are large (25 mm) and provide soft, suspended volumes of light to flow through twisting and contorted tubing. The suspended root masses also act as a link to the visitor center's sod roofs, and reference the history of the underground living spaces of some native tribes of the area.The network of gaseous argon speaks to the flowing of water and the technology necessary to keep the watershed operational and the generation of electricity.

Krypton filled "neon" tubes with hand coated phospors

THE DENDRITIC ROOT FLOOR is a sandblasted and stained concrete floor. The pattern is of a stylized image of a cross section of a vine maple root system rendered in dark organic colors.

Funding: SPU % for Arts Program, Administrated by the Seattle Arts Commission. Architects and Landscape Architects: Jones and Jones Architects, Lori Nelson project architect, Nancy Roddle, project landscape architect.

Skagit Streaming

Seattle, WA

SKAGIT STREAMING is a complex multi-site project providing a window into the Skagit River system (Seattle’s hydroelectric facility) via fiber optic cable- from 150 miles away. “Live” Streamed video images (from 3 cameras): Riverside views, underwater footage and microscopic images are then sent into various city buildings, the WWW and projected nightly 40' across on the side of a large parking garage. The www aspect of the project provides streaming video, feedback and educational information. This project aspires to connect the downtown urban core with the source of its electricity and quiet cycles of nature. At the same time, it acts as a sort of "canary in a coal mine" by monitoring strategic fish populations for the public.

40' wide screen on the side of the Bon Marche Parking Garage; ©2000

Skagit Streaming "fish-cam" on the Bon Marche' parking garage. Special Thanks Steve Monsey, broadcast engineer , Vicki Moulder, web designer, Miguel Edwards- video editing,and many others: FUNDERS and SPECIAL THANKS Administered by the Seattle Arts Commission

In the Municipal Building where the Mayor and City Council has their offices, the video was shown next to the elevator to help remind our elected officials about our critical relationship to the source of our electricity and water.

the www.skagitstreaming.net web site included grass roots salmon education links, education site and project information.

Resin Rods

WA State E. Capitol Campus, Olympia, WA

RESIN RODS- are embeded through the cement walls acting as dimenstional "skylights" . These "skylights" are developed with distinctive color patterns and arangement patterns for each of the 8 stair towers on the Olympia East Capital Campus.

Each tower grouping had matching shapes in warm and cool colors, that also matched way-finding neon banding on top of the tower

Resin Rods inside, flush with the wall

Blue-Green Resin Rods. All rods are flush in the "touch zone" and become dimensional above....extending up to 36" beyond the wall.

Round resin rods ranging from 3-14" in diameter

WA State Capital dome in the back. Resin Rods extending out up to 36"

Root

Bellevue, WA

Root
18’h x 20’w x 13’d; Cast Bronze, specialty paint; ©2007 Photo:Spike Mafford

This giant tree was originally harvested in the 1800's from this region. The old growth tree root system is cast in Bronze and treated with a special hematite silver paint. It metaphorically speaks of transparency of government and exposing the hidden infrastructure (hidden roots) of the city (electric, water, sewage etc) and relates to historical/ecological roots of the city.

Exquisite detail of root textures cast in bronze. Fabricaiton by Blue Mountain Fine Art, Baker City OR. Engineering by Mike Valley of MKA, City of Bellevue, 4Culture

This giant tree was originally harvested in the 1800's from this region. The old growth tree root system is cast in Bronze and treated with a special hematite silver paint. It metaphorically speaks of transparency of government and exposing the hidden infrastructure (hidden roots) of the city (electric, water, sewage etc) and relates to historical/ecological roots of the city. A companion piece directly behind it is a living Nurse Tree.

A companion piece directly behind the bronze root is a living "nurse log" tree. The living tree (growing out of the trunk of an old root stump) will grow and mark time as the silver root is forever frozen in both time and space.

Infrastructure

Seattle, Tuckwilla, Seatac, WA

Sound Transit Infrastructure Projects
Golden Striped Finials cap the OCS poles at the Sound Transit Tukwilla Station 2007

The BANGLES were applied to 15 special poles adjacent to the stations in Seattle's MLK Valley. They are noticeable when the trains slow down approaching the station. Each station has its own signature color. This project was done in collaboration with Norie Sato. 2007

The REEDS are distinctive pole tips that identify the MLK Valley as a special linked community. The tips gracefully curve and blend the dark poles into a metalic sky blue and then to a silver tip. All the tips point West- to the Puget Sound- and to the sunset. The gracefull REEDS tips are part of system-wide art projects developed in collaboration with Norie Sato 2007

SHIMMERING SHADOWLINES Steel, mylar; 2007. 9 massively tall support columns are articulated with shimmering mylar dots that not only conjure images of water flowing down a trough, but also refer to the “Sparklett’s bottled water trucks” signs from the 1950’s. The kinetic and reflective mylar dots enhance the feeling of motion and anticipation as travelers in vehicles on the adjacent highway move past the dramatic Guideway columns that carry passengers to the airport. This project was also done in collaboration with Norie Sato.

 

Blue Duwamish

Tuckwila, WA

LED’s, electronics, steel, train signaling system

The only Sound Transit light rail crossing over water is celebrated by these blue LED lights turning on as the trains are crossing the Duwamish bridge. The curving light supports complement the curved safety railing, making reference to wave patterns and salmon ribs.  This project was done in collaboration with Norie Sato. 

Special thanks to Sound Transit, Carol McDonald, Barbara Luecke, Andy Moniz, Kevin Furry/ Kiboworks,

Safety Spires

Seattle, WA

Painted steel, thermoformed acrylic, overhead cantinary support poles, ©2006 photo:J.Babuca

Over 200 Overhead Contact System poles with specialty paint and spire-shaped finials. The poles within Sound Transit Maintenance Facility are striped with black and “safety green” paint. The artwork is inspired by a prehistoric plant indigenous to this region – commonly known as the horsetail or Scouring Rush. The patterning on the horsetail, along with allusions to bamboo and spring growth seemed evocative of the renewal, maintenance and caring for the system taking place at the facility.

Safety Spires in front of the Maintanance Bays at the Sound Transit O&M Facility in Seattle WA


This project created in collaboration with Norie Sato. Photo: Richard L. Baron

Rain Drums

North Bend, WA

Rain Drum Courtyard
custom "rain drums", computer programmable water drip system; ©2001

RAIN DRUM COURTYARD Cedar River Watershed Visitors Center, North Bend WA The space between 3 buildings houses a wild overgrown forest floor with a slow moving stream and a canopy of tall, thin and lacy vine maples. Interspersed between the trees are 17 "rain drums" that play the raindrops as they fall from the sky and drip from the branches. When the sky is dry, there is a set of computer controlled water drippers that create a set of changing rhythms.

Special Thanks to the Cedar River Watershed staff, Seattle Arts Commission, Ruri Yampolsky, Barbara Goldstein, Paul Sorey, Chris Holland, Nancy Rottle, Lorri Nelson, Marie Ruby, Tom Mattausch