A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

A meditation on the multiple meanings of the word “fall”, this work alludes to the image of Rapunzel, but also calls to mind fire or smoke, lines and waves; a fantastical outpouring.

The Cosmopolitan, Las Vegas, NV
15’ x 15’ x 3”
Acrylic on aluminum
2010

The delicate Duralar shapes contrast with the raw concrete wall they are mounted on and trigger a range of associations from the macrocosmic to the microcosmic.

H2 Hotel in Healdsburg, CA
8’ x 16’ x 3”
Acrylic on Duralar
2010

The delicate Duralar shapes contrast with the raw concrete wall they are mounted on and trigger a range of associations from the macrocosmic to the microcosmic.

H2 Hotel in Healdsburg, CA
8’ x 16’ x 3”
Acrylic on Duralar
2010

The delicate Duralar shapes contrast with the raw concrete wall they are mounted on and trigger a range of associations from the macrocosmic to the microcosmic.

H2 Hotel in Healdsburg, CA
8’ x 16’ x 3”
Acrylic on Duralar
2010

The delicate Duralar shapes contrast with the raw concrete wall they are mounted on and trigger a range of associations from the macrocosmic to the microcosmic.

H2 Hotel in Healdsburg, CA
8’ x 16’ x 3”
Acrylic on Duralar
2010

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three different landscapes on the main walls of the correctional facility lobby. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water, underscoring the idea of transformation. Designed to create a feeling of expansiveness in an architectural setting that is about confinement, the works stretch horizontally and vertically, causing the viewer to look up and outward, beyond the walls. The color and hand-painted surface add warmth and tactility to the space.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

A single set of linear gestures creates three distinctly different landscapes on each wall in the lobby of the correctional facility, a subtle allusion to the idea of transformation. The compositions shift to suggest a cascading willow tree, a bank of clouds and an open body of water; all are vistas that introduce a feeling of beauty and dignity into a cramped space. As the configurations stretch horizontally and vertically, they imply an expansiveness that causes the viewer to look up and outward, beyond the walls.

King County Correctional Facility,
Seattle, WA
24’ x 20’ x 6”, 14’ x 13’ x 3”, 14’ x 20’ x 3”
Acrylic on aluminum, painted wall, light and shadow
2009

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Two monumental falls mirror one another in the north and south reception halls of a private residential complex. In blood red and cobalt blue, the works allude to origin of life and the energy of life.

Twin Parks, Taichung, Taiwan
23’ x 4’ x 2’ each
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Dozens of painted, laser-cut steel and glass elements are layered on the wall and project out into the space above the stairwell. The piece suggests wind as a metaphor for the passage of time and the energy of change throughout life's seasons.

Horizon House, Seattle, WA
10’ x 25’ x 15”
Painted steel and glass
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007

Three falls flow down through architectural niches in the Wellness Center at Conoco Phillips Corporate Headquarters. Over forty feet tall, the work moves intermittently with air currents and interacts with natural and directional light. With multiple shades of blue and a bold variety of textures, the work imparts an energetic yet calming presence.

Conoco Phillips, Houston,TX
43’ x 60’ x 3’
Acrylic paint on Duralar, mounted to lacquered wooden crown supports
2007