FIRE/WATER
Fire/Water Image Description Details
“Lake Aliso, CA Fire/Water Series,” 65’ x 12” -24” submerged, plexiglass, wire, radiant argon phosphor tubing and a timer operated power supply -1979-80
“Lake Aliso, CA Fire/Water Series,” detail view, 65’ x 12” -24” submerged, plexiglass, wire, radiant argon phosphor tubing and a timer operated power supply -1979-80
"Foster Hill Creek, NY Fire/ Water Series,” detail view - area of installation 45ʼ x 25ʼ x 16” -clear PVC tubing, wire, stainless steel and aluminum hardware, fluorescent light and portable power supply; sculpture installation is submerged underwater and partially frozen in snow and ice in a natural setting with a timer operated portable power supply. (sponsored in part by a NY State Council on the Arts Grant) -1986
"Foster Hill Creek, NY Fire/ Water Series,” - area of installation 45ʼ x 25ʼ x 16” -clear PVC tubing, wire, stainless steel and aluminum hardware, fluorescent light and portable power supply; sculpture installation is submerged underwater and partially frozen in snow and ice in a natural setting with a timer operated portable power supply. (sponsored in part by a NY State Council on the Arts Grant) -1986
“Indian Brook Falls, NY Fire/Water Series,” -area of installation 35ʼ x 20ʼ x 16” -clear PVC tubing, wire, stainless steel and aluminum hardware, fluorescent light and portable power supply; sculpture installation is submerged and is kinetic in the water fall turbulence with a timer operated portable power supply. (sponsored in part by a NY State Council on the Arts Grant) -1987
“Indian Brook Falls, NY Fire/Water Series,” detail view -area of installation 35ʼ x 20ʼ x 16” -clear PVC tubing, wire, stainless steel and aluminum hardware, fluorescent light and portable power supply; sculpture installation is submerged and is kinetic in the water fall turbulence with a timer operated portable power supply. (sponsored in part by a NY State Council on the Arts Grant) -1987
“Smithville Flats, NY Fire/Water Series,” -area of installation 95ʼ x 95ʼ x 5ʼ -clear PVC tubing, wire, stainless steel and aluminum hardware, neon light and portable power supply; sculpture installation is submerged underwater to a depth of 1 to 5 ft; the sculpture installation is controlled by a timer operated portable power supply. Two views: mid-day detail view and early morning overview. (sponsored in part by a NY State Council on the Arts Grant) -1987
“Smithville Flats, NY Fire/Water Series,” detail view - area of installation 95ʼ x 95ʼ x 5ʼ -clear PVC tubing, wire, stainless steel and aluminum hardware, neon light and portable power supply; sculpture installation is submerged underwater to a depth of 1 to 5 ft; the sculpture installation is controlled by a timer operated portable power supply. Two views: mid-day detail view and early morning overview. (sponsored in part by a NY State Council on the Arts Grant) -1987
FIRE/AIR
Fire/Air Image Description Details
“Ignipius,” from the Fire/Air Series -72” x 36” x 36ʼ” inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1982
“Igna Ligna,” from the Fire/Air Series -72” x 36” x 36ʼ” inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1983
“Ignum Bivium,” from the Fire/Air Series -60” x 36” x 36ʼ” inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; sculpture
is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1984
“Nimbius XI,” from the
Fire/Air Series - 48” x 36” x 36” inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1985
“Nimbius VII,” from the Fire/Air Series
48” x 48” x 24” inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1985
“Nimbus,” from the Fire/Air Series
- 40” x 36” x 20ʼ”
double inflated translucent and colored vinyl, silk screened mylar, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1987
“Ignipia,” from the
Fire/Air Series -48” x 48” x 24’” double inflated translucent and colored vinyl, wire, clear plexiglas, aluminum and fluorescent light; “Nimbus,” from the Fire/Air Series
-40” x 36” x 20ʼ”
double inflated translucent and colored vinyl, silk screened mylar, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch. -1987
“Igna Serrata,”
from the Fire/Air Series -60” x 36” x 20ʼ” double inflated translucent and colored vinyl, silk screened mylar, wire, clear plexiglas, aluminum and fluorescent light; sculpture is installed suspended from the ceiling as if floating and responds kinetically to air circulation or touch -1988
CYBER-FLOWERS
Cyber Flower Series Image Description Details
“Cyber-Lumen Editions” from the Cyber Flower Series, 70” x 46” x12”
- welded aluminum, variable speed motor, wire,Plexiglas, laminated wood, paint, electronic controls, and multicolored light; the preprogrammed mechanical rotation of the luminous shape forms “floral petal” patterns. (one view of many possible patterns) -1994 - 2004
“Cyber-Lumen Editions” from the Cyber Flower Series, 70” x 46” x12”
- welded aluminum, variable speed motor, wire,Plexiglas, laminated wood, paint, electronic controls, and multicolored light; the preprogrammed mechanical rotation of the luminous shape forms “floral petal” patterns. (one view of many possible patterns) -1994 - 2004
“Cyber-Lumen Editions” from the Cyber Flower Series, 70” x 46” x12”
- welded aluminum, variable speed motor, wire,Plexiglas, laminated wood, paint, electronic controls, and multicolored light; the preprogrammed mechanical rotation of the luminous shape forms “floral petal” patterns. (one view of many possible patterns) -1994 - 2004
“Cyber-Lumen Editions” from the Cyber Flower Series, 70” x 46” x12”
- welded aluminum, variable speed motor, wire,Plexiglas, laminated wood, paint, electronic controls, and multicolored light; the preprogrammed mechanical rotation of the luminous shape forms “floral petal” patterns. (one view of many possible patterns) -1994 - 2004
“Turbo Flora Editions “ from the Cyber Flower Series - 98” x 42” x 42” -welded aluminum and steel, motors, wire, hardware, Plexiglas , laminated wood, paint, electronics, and polychromatic light; kinetic, luminous, flower patterns electronically programmed and controlled; the entire sculpture rotates clockwise from the base at 4-6 RPM and the four luminous ends at the top of the sculpture spin clockwise and counter clockwise at 85 RPM. (two views of the sculpture as it changes over time) -2000-2004
“Turbo Flora Editions “ from the Cyber Flower Series - 98” x 42” x 42” -welded aluminum and steel, motors, wire, hardware, Plexiglas , laminated wood, paint, electronics, and polychromatic light; kinetic, luminous, flower patterns electronically programmed and controlled; the entire sculpture rotates clockwise from the base at 4-6 RPM and the four luminous ends at the top of the sculpture spin clockwise and counter clockwise at 85 RPM. (two views of the sculpture as it changes over time) -2000-2004
“Turbo Flora Editions “ from the Cyber Flower Series - 98” x 42” x 42” -welded aluminum and steel, motors, wire, hardware, Plexiglas , laminated wood, paint, electronics, and polychromatic light; kinetic, luminous, flower patterns electronically programmed and controlled; the entire sculpture rotates clockwise from the base at 4-6 RPM and the four luminous ends at the top of the sculpture spin clockwise and counter clockwise at 85 RPM. (two views of the sculpture as it changes over time) -2000-2004
“Turbo Flora Editions “ from the Cyber Flower Series - 98” x 42” x 42” -welded aluminum and steel, motors, wire, hardware, Plexiglas , laminated wood, paint, electronics, and polychromatic light; kinetic, luminous, flower patterns electronically programmed and controlled; the entire sculpture rotates clockwise from the base at 4-6 RPM and the four luminous ends at the top of the sculpture spin clockwise and counter clockwise at 85 RPM. (two views of the sculpture as it changes over time) -2000-2004
“Strato Flora” from the Cyber Flower Series; Phaeno Museum commission, Wolfsburg Germany, 96” x 120” x 120” -welded aluminum and steel, motors, wire, Plexiglas, electronics and polychromatic light; sculpture is kinetic and luminous patterns are electronically programmed; entire sculpture is ceiling mounted 30 feet from the floor of the futuristic Zaha Hadid designed museum which has no vertical walls. The two sections of the sculpture appear to intersect and rotate clockwise and counter clockwise at 6 RPM; the four luminous ends spin at 120 RPM in opposite rotation. (two views of the sculpture changing over time) -2005
“Strato Flora” from the Cyber Flower Series; Phaeno Museum commission, Wolfsburg Germany, 96” x 120” x 120” -welded aluminum and steel, motors, wire, Plexiglas, electronics and polychromatic light; sculpture is kinetic and luminous patterns are electronically programmed; entire sculpture is ceiling mounted 30 feet from the floor of the futuristic Zaha Hadid designed museum which has no vertical walls. The two sections of the sculpture appear to intersect and rotate clockwise and counter clockwise at 6 RPM; the four luminous ends spin at 120 RPM in opposite rotation. (two views of the sculpture changing over time) -2005
“Strato Flora” from the Cyber Flower Series; Phaeno Museum commission, Wolfsburg Germany, 96” x 120” x 120” -welded aluminum and steel, motors, wire, Plexiglas, electronics and polychromatic light; sculpture is kinetic and luminous patterns are electronically programmed; entire sculpture is ceiling mounted 30 feet from the floor of the futuristic Zaha Hadid designed museum which has no vertical walls. The two sections of the sculpture appear to intersect and rotate clockwise and counter clockwise at 6 RPM; the four luminous ends spin at 120 RPM in opposite rotation. (two views of the sculpture changing over time) -2005
CYBER-ARBORETUM
Cyber - Arboretum Image Description Details
“Cyber Arboretum Series -CII-Prosthetic Repairs to an Injured Environment,”
-39” x 12” x 12” Machined metal, Plexiglas, paint, podocarpus wood elements, stainless steel hardware, and circuline fluorescent light. -2004
“Cyber Arboretum Series - CVI-Prosthetic Repairs to an Injured Environment”
-34” x 12” x 12” Machined metal, Plexiglas, paint, glass, delrin, wood elements, stainless steel hardware, and circuline fluorescent light. -2006
“Cyber Arboretum Series - CIX: Prosthetic Repairs to an Injured Environment,”
-49” x 27” x 12” Machined metal, colored Plexiglas, paint, podocarpus wood elements, stainless steel hardware, and circuline fluorescent light. -2007
“Bioremediation-III,” -45” x 15” x 12” Machined metal and colored Plexiglas, podocarpus wood, MDF board, cast concrete, paint, stainless steel hardware, and LED radiant light. -2009
“Bioremediation-V,” -45” x 17” x 14” Machined metal and colored Plexiglas, natural wood, MDF board, cast concrete, paint, stainless steel hardware, and LED radiant light. -2010
Bioremediation-VIII,” -45” x 15” x 11” Machined metal and colored Plexiglas, podocarpus wood, MDF board, cast concrete, paint, stainless steel hardware, and LED radiant light. 2011
“Bio Remediation Study # 3,” -38” x 14” x 10” Coal, glass, metal , podocarpus wood, delrin plastic, stainless steel hardware and neon. -2012
“Bio Remediation Study # 2,” -40” x 16” x 10” ” Copper wool, glass, aluminum, podocarpus wood, acrylic plastic, stainless steel hardware, and neon. -2012
“Flora Paraplegia #2” - 51” x 18” x 18” Anthracite coal, welded metal, Podocarpus wood, acrylic plastic, paint, stainless steel hardware, caster wheels, and neon illumination. -2014
- "Flora Paraplegia #7” - 54" x 20" x 16" Machined metal and colored Plexiglas, podocarpus wood, MDF board, cast concrete, paint, stainless steel hardware, and LED radiant light. 2015
“Flora Paraplegia #6” - 50" x 28" x 23" Welded metal, apple wood, acrylic plastic, paint, stainless steel hardware, caster wheels, and neon. 2015
“Flora Paraplegia #4” - 45” x 23” x 23” Welded metal, plum wood, acrylic plastic, paint, stainless steel hardware, caster wheels, and neon. 2015
Flora Chimera #2, 2017, welded metal, Podocarpus wood, acrylic plastic, paint, assorted stainless steel hardware, and neon illumination. 40” x19” x 19”
Flora Chimera #7, 2018, welded metal, Red Gum Eucalyptus wood, anthracite coal, acrylic plastic, paint, stainless steel hardware, and neon illumination.
40” x 18” x 14”
Flora Chimera #9, 2019, welded metal, Limequat wood, ceramic eggs, assorted feathers, acrylic plastic, paint, stainless steel hardware, and neon illumination.
48” x 26” x 18”
Flora Chimera # 12, 2019, welded metal, Thyme wood, acrylic plastic, paint, stainless steel hardware, synthetic fur
and neon illumination.
41” x 23” x 15”
CRISPR Incubator Series # 4, 2020, glass, organic seed pod, stainless steel, ball bearings, plastic, paint, assorted hardware, wheels, and LED. 26” x 12” x 12”
CRISPR Incubator Series # 14, 2022, glass, ceramic egg, feathers, stainless steel , plastic, paint, assorted hardware, wheels, and LED. 26” x 12” x 12”
CRISPR Incubator Series #7, 2021, glass, walnut shells, stainless steel , plastic, paint, assorted hardware, wheels, and LED.
26” x 12” x 12”
CRISPR Incubator Series #12, 2021, glass, synthetic fur, stainless steel , plastic, paint, assorted hardware, wheels, and LED.
26” x 12” x 12”
ARTIST IN RESIDENCES
Artist in Residence Image Description Details
“Cyber-Lumen Triptych,” 70” x 144” x 20” - Welded aluminum, variable speed motors, wire,Plexiglas, laminated wood, paint, electronic controls, and multicolored light; viewer interaction allows for motor speed rotation of the luminous shapes from 0- 120 RPM, additional controls for color, intensity and pattern variations. Individual viewer controls are positioned on pedestals 8-10 feet from the sculpture . (sponsored in part by a NY State Council on the Arts Grant and the Roberson Center for the Arts and Sciences, Binghamton, NY) -1987
The Lumen Illusion Series creates the opportunity for the viewers to explore the illusion of motion with on/off sequence rate, sequence direction, and pattern controls.
48” x 70” x 20” 1994-1996
The Lumen Illusion Series creates the opportunity for the viewers to explore the illusion of motion with on/off sequence rate, sequence direction, and pattern controls.
48” x 70” x 20” 1994-1996
The Lumen Illusion Series creates the opportunity for the viewers to explore the illusion of motion with on/off sequence rate, sequence direction, and pattern controls.
48” x 70” x 20” 1994-1996
The Lumen Illusion Series creates the opportunity for the viewers to explore the illusion of motion with on/off sequence rate, sequence direction, and pattern controls.
48” x 70” x 20” 1994-1996
“The Tomb at St. Georgeʼs Garden,” installation area 84” x 200” x 84”
Silicone, wire, plasticine clay, miniature power supply with timer, and phosphor coated fluorescent light; one of several installations at St. Georgeʼs Garden in London, a 16th century cemetery located over a previously used Plague pit burial site (Sponsored in part by a Fulbright Fellowship) -1990
“The Grave at St. Georgeʼs Garden,” installation area 82” x 200” x 82”
Silicone, wire, plasticine clay, miniature power supply with timer, and painted fluorescent light, one of several installations at St. Georgeʼs Garden in London, a 16th century cemetery located over a previously used Plague pit burial site (Sponsored in part by a Fulbright Fellowship) -1990
“The Burial Vault at St. Georgeʼs Garden,” installation area 72” x 144” x 72”
Silicone, wire, plasticine clay, miniature power supply with timer, and painted fluorescent light, one of several installations at St. Georgeʼs Garden in London, a 16th century cemetery located over a previously used Plague pit burial site (Sponsored in part by a Fulbright Fellowship) -1992
CUSTOM FABRICATION TOOLS
COLLABORATIVE WORKS
Luminauts and Ignus ex Machina
Luminauts and Ignus ex Machina Image Details
"Performance in Blue Series"
Early collaborative study exploring the kinetic patterns created by performers manipulating hand-held light wands.
1980-1983
"Performance in Blue Series"
Early collaborative study exploring the kinetic patterns created by performers manipulating hand-held light wands.
1980-1983
"Performance in Blue Series"
Early collaborative study exploring the kinetic patterns created by performers manipulating hand-held light wands.
1980-1983
"Performance in Blue Series"
Early collaborative study exploring the kinetic patterns created by performers manipulating hand-held light wands.
1980-1983
"Performance in Blue Series"
Early collaborative study exploring the kinetic patterns created by performers manipulating hand-held light wands.
1980-1983
“Red Lightning Suit”
Worn by the professional dancer Pilar Limosner; resting between choreographed light displays.-1985
“Red Lightning Suit”
One of several different color, custom fabricated light suits to be worn by a person approximately 64”-68” height and 120 lb. weight; luminous suit is fitted on a life size wood and plaster -1987mannequin; materials include fabric, acrylic plastic, leather, velcro, wire, assorted fasteners, and fluorescent light; mannequin is holding a tethered 4ʼ yellow fluorescent light wand. Wearing the suit allows a performer to create 3-dimensional volumes of light .-1986
“Red Lightning SuitBlue Light Wand”
-performer running while creating a complex multicolored kinetic volume of light with their body while wielding a 4 ft blue fluorescent light wand.-1989
“Red Lightning Suit”
Performer creating a simple kinetic volume of light moving their arms and torso.
-1989
“Red Lightning Suit”
Performer creating a simple kinetic volume of light moving their arms and torso.
-1989
“Red Lightning Suit”
Performer creating a simple kinetic volume of light moving their arms and torso.
-1989
"LUMINAUTS" Description Details
Historically, the concept of the film is rooted in Eadweard Muybridge’s pioneering photography of human motion using stop-action. “Luminauts” is a continuation of the study of human motion as revealed through the media of film and neon. Visually the effects in the film are based on portable neon light wands that can be safely carried and manipulated by performers and articulating neon light-suits that are worn by the performers. In the film several performers in neon light-suits of various colors wield light wands and interact in a darkened studio to produce choreographed three dimensional volumes of light. -color, sound, 10 minutes, 1982. - Funded by an American Film Institute/National Endowment for the Arts Grant, Washington, DC
“IGNUS EX MACHINA” Description Details
“IGNUS EX MACHINA” (Fire from the Machine) is about machine power and the kinetics of moving light that inspired the Futurist art movement. The film stage equipment consists of four independently controlled kinetic neon light machines. The machines mechanically rotate neon glass tubes with controls for RPM, direction of rotation, sequencing, and light intensity. Performers wearing black dance tights interact with the kinetic light background to produce remarkable human silhouettes. The combination of the constantly rotating neon light positions distorts the performers silhouettes into elongated and compacted forms. -color, sound, 8 minutes, 1985.
-Funded by a Western States Regional Media Arts Fellowship/National Endowment for the Arts Grant, Denver, CO and a California Arts Council Grant, Sacramento, CA