Public Art Installations
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SOLAR TSUNAMI Glass mural, Total dimension - 22 x 12, 17 panels. College of Oceanographic and Atmospheric Research, Oregon State University, Corvallis, OR 2002; Architect: Paul Waters, SRG Partnership, Portland, OR
Our intention with the design of this mural was to give imagery to the oceanographic and atmospheric research function of the building. Storms, tidal shifts, tectonic movements, galactic evolution: all were invoked to create a mural representative of the college’s mission.
METAMORPHOSIS SERIES 4 murals approx. 13’ x 7’. Panther Lake Elementary, Lobby Windows, Kent, WA 2010
The METAMORPHOSIS SERIES was intended as a set of designs that evolve through four distinct stages. The true transformation will be the one that occurs in students’ perspective over the years, as they mature along their educational journey.
METAMORPHOSIS SERIES 4 murals approx. 13’ x 7’. Panther Lake Elementary, ‘Caterpillar’, Kent, WA 2010
METAMORPHOSIS SERIES 4 murals approx. 13’ x 7’. Panther Lake Elementary, ‘Learning to Fly’, Kent, WA 2010
FULLY INVOLVED, three panels approx. 7.5’ x 3’, Camano Island, WA Fire Station Headquarters entryway mural and interior sidelight. 2010
BIG BANG and LITTLE BANG murals for Cascade Middle School, Vancouver, WA 20 x 15 three story main corridor window plus main entryway treatment. WA Arts Commission. Fabrication: Pam Taylor, Whidbey Island, WA Architect: Karl Johansen LSW Architects, Portland, OR 2008
BIG BANG was a response to the school’s interest in relating the glass imagery to their signature view of Mt. St. Helens. The alignment of the school was created to maximize that view and the artwork, hopefully, added a colorful and whimsical interplay. The front entryways are titled LITTLE BANG.
CASCADE CONSTELLATION Cascade Valley Hospital, Arlington, WA dining hall mural 25’ x 13’ 2009 Architects: Taylor Gregory Butterfield Architects, Edmonds, WA 2009
CASCADE CONSTELLATION is a galaxy of color and movement swirling out from its axis of blown glass. It was meant to allow visibility to the mountain range beyond while hopefully creating an abstract world of images in glass that appear almost to rotate and expand.
ICARUS TRIUMPHANT James Hawthorne Apartments, Portland Housing Authority and Multnomah County Human Services’ mural, 40’ x 10’, Portland, OR 2010 Architect: William Wilson Architects, Portland, OR
ICARUS TRIUMPHANT was designed for the James Hawthorn Apartments, a very low income residence that was a collaboration between the Housing Authority of Portland and Multnomah County Human Services. The aim of the glasswork was to provide a sense of new beginnings, a feeling of renewal and rebirth, a kind of dawn and sunrise. The artwork is meant to suggest wings and uplift, upraised arms and a sense of welcoming open-armed what’s ahead.
ICARUS TRIUMPHANT James Hawthorne Apartments, Portland Housing Authority and Multnomah County Human Services’ mural, 40’ x 10’, Portland, OR 2010 Architect: William Wilson Architects, Portland, OR
Exterior
PHOENIX MOON Glass mural, 18 x 12, beveled, textured and blown glasses, Snoqualmie, WA Fire Headquarters. 2005; Architects: TCA Seattle, WA
PHOENIX MOON was a commission for a fire station headquarters in Snoqualmie, WA within half a mile of a spectacular waterfall in the Snoqualmie Valley. The imagery was meant to evoke the falls as well as the native appellation for the area: Valley of the Moon.
ENGINE Portland, OR Main Fire Station Headquarters entryway mural 12’ x 12’ 2009 Architects: Thomas Hacker Architects
ENGINE is envisioned as a response to the Charles Demuth painting of the 1930’S I Saw the Number 5 in Gold, ENGINE is an upgraded totemic image for the Portland Fire Station Headquarters with color and flash and kinetics all held fast in the confines of the station’s entryway. The glasswork is intended to evoke explosive movement held in check, heroic energies at the ready, dramatic moments about to unfold... My intent was to modernize the imagery in the medium of glass, which is, I think, a kind of frozen energy itself, ready too to explode when light hits it. Probably not going to save lives, but I guess art has its own limitations. Hate to admit it, but there you are...
ESCHER’S ELEVATOR 40 x 30 tower mural in the Teaching Facilities Building at Southern Utah University; Cedar City, Utah. 2008 Commissioned by Utah Arts Commission; Architect: Allen Roberts CRSA, Salt Lake City, UT
The artwork of Escher’s Elevator was meant to be nonlinear and interestingly illogical. Different perspectives confront the viewer as the ‘elevator’ rises. Dimensionally challenging, the artwork asks the viewer to continuously reorient spatially as well as intellectually as reality shifts in ascension and fall.
MILLENIAL CHRONOMETER Glass and stainless steel sculptural clock; total dimension 20 x 20 Commissioned by Everett Cultural Commission Everett, WA. 2002; Photo credit: Wendy Fagan; Architects: Zimmer Gunsel and Frasca Seattle, WA
The design of this sculptural piece was a response to the function of the Station. We wanted the shape to suggest the front of a locomotive with the clock representing the headlight. The clock itself, with its fins representing the lens of a camera, was intended to reference time as an aperture. The glass selections and design were meant to be a highly restrained architectural construction in the Pilkington curtainwall.
MILLENIAL CHRONOMETER Glass and stainless steel sculptural clock; total dimension 20 x 20 Commissioned by Everett Cultural Commission Everett, WA. 2002; Photo credit: Wendy Fagan; Architects: Zimmer Gunsel and Frasca Seattle, WA
[Alternative view]
SCALES OF HAMMURABI Glass murals (two) 40 x 13 in 16 panels, 40 x 8 in 8 panels, Alachua County Regional Justice Center, courthouse lobby, Gainesville, Florida. 2003 Fabrication: Frank James, Micanopy, FL, Architects: Michael LeBoeuf DLR Group
The SCALES alluded to in the mural’s title evoke the first written codification of law in stone tablets in Babylon in 2000 B.C. under the rule of Hammurabi. The descending imagery in glass is meant to create a visual hieroglyphics similar to the tablets. Scales also connote the scales of justice as well as a kind of musical cuneiform. This work was designed as a signature piece for the building which is seen distinctly at night from the downtown theater district of Gainesville.
LOCOMOTION Glass mural 15 x 12 Skagit Station Lobby, Mt. Vernon, WA. 2004 Architect: Arai/Jackson, Seattle, WA
LOCOMOTION was designed as a logo-like mural for not only the transportation center, but the city as well, visible as it is from the interstate a few hundred feet away. The imagery is kinetic, alluding to a streamliner arriving at the platform, but its essential ‘dynamic deconstruction’ gives great play to the glass selections, much of which is mouthblown by Fremont Antique Glass Company and is exquisitely complex in its varying coloration.
PETRI BLOOM 32 x 7 glass mural for Oregon Art Commission, Oregon Dept. of Environmental Quality and Public Health Lab, Hillsboro, OR 2008
This large mural for Oregon’s Health Lab was intended to create an artwork that reflected the biological work of the two headquarters. The design is a symmetrical crystallinge form imagined as an organic ‘bloom’.
SUMMIT 225 sq. ft. sculptural glass mural rising 40 feet above the lobby floor. Beveled, iridized and blown glasses. Highline Medical Center, Seattle, WA; Photo Credit: Allison Kogler, Eric Haley; Architect: Richard Salogga, Northwest Architectural Company. Seattle, WA 2005
SUMMIT is a mural for Highline Hospital’s Oncology Center. Its imagery was intended to be uplifting and inspirational for the patients and their families who are undergoing cancer treatments. SUMMIT refers as well to the magnificent view of Mt. Rainier which can be seen directly beneath the mural.
PARADIGM SHIFT 24 x 9 mural for the faculty lounge above main entry to the Teaching Facilities Building of Southern Utah University. Cedar City, Utah; Commissioned by Utah Arts Commission 2008; Architect: Allen Roberts CRSA, Salt Lake City, Utah
Paradigm Shift’s arch is a metaphorical as well as literal ‘bridge’ between the 19th century Normal School’s entrance of arched stone and radiating wood fanned transom to the abstraction of Escher’s Elevator and its 21st century architecture. Where Paradigm Shift is an elegantly formal symmetrical construction whose interior begins the process of fragmentation, Escher’s Elevator is a wholly modern unraveling of traditional perspectives.
QUIXOTE’S COMET Glass mural, 14 panels curving 70 x 20, leaded, textured glasses Washington State Dept. of Transportation Regional Headquarters, Tacoma, WA. 1995. Fabrication: Gordon Russ, Edison, WA; Commissioned by Washington State Arts Commission. Architects: Arai/Jackson Seattle, WA; Photo Credit: Derk Jager
This extremely large mural was designed to be the logo for the State Patrol Headquarters it houses along with their crime lab and a Department of Licensing. Visible for long distances at night, the artwork was embraced by the troopers as a dynamic and appropriate emblem.
BRIDGE Glass murals (two) 30 x 15 murals of antique, leaded, beveled and iridized glasses. Arlington High School, Arlington WA 2004 Commissioned by Washington State Arts Commission, Fabrication: The Glass Cottage, Smokey Pt., WA Architect: McGranahan Group, Tacoma, WA Photo Credit: Allison Kogler, Eric Haley
BRIDGE is actually two separate murals. The symbolism of bridge is a reference to the school’s architecture which features bridge walkways that lead to differing curricular components. It is also a reference to the connection between adolescence and adulthood, and to actual rivers and dikes that adjoin the town.
CELESTIAL TSUNAMI Glass room divider, 8 x 20 20 panel leaded, beveled, iridized & dichroic glass with laminated arched wood frame designed & constructed by the artist, Mukilteo Public Library, Mukilteo, Washington, 1999; Photo Credit: Derk Jager Architects: Lewis Architects Bellevue, WA
This mural is actually a dividing wall between the library’s checkout and the children’s room. The curved fir framing was designed to reference the fir beams and other woodworking of the architecture.
PASSAGE Entryway Glass mural. Total dimension 26 x 6; Connecting Link between Low income Housing Center and Senior Center, Stanwood, WA 2004 Donation; Photo Credit: Allison Kogler, Eric Haley; Architects: Dan Nelson,Design Northwest Sharon Robinson, Zervas Group, Everett, WA
PASSAGE is, quite literally, a connecting link between the old and the new, between the former high school now a Senior Center and the new Low Income Housing Apartments, and figuratively between the past and the future. The imagery is meant to evoke hieroglyphics, computer punch cards, digital circuitry, alphabets and other symbols of information undergoing radical transformation.
KALEIDOSCOPE Glass mural in a display room, 14 x 8 x 4 feet deep Gilmore Housing Project Housing Resources Group, Seattle, WA 2003; Architects: GGLO Seattle, WA; Photo Credit: Allison Kogler, Eric Haley
This project resulted when remodeling created a small window space to the street, considered the most heavily pedestrian trafficked intersection in Seattle. The client, at a loss for a solution, turned to the art community. My response to a site ordinarily inappropriate for stained glass (it is 40 inches wide from window to wall) was to line the interior with mirrors placed at vertical angles, design in ‘windows’ for passersby to view the interior space, and light the room with mirrorballs, spots, strobes and everchanging strategies to create the world’s largest kaleidoscope near the Pike Street Market. Pedestrian movement turned the kaleidoscope. [Now uninstalled.]
KALEIDOSCOPE Glass mural in a display room, 14 x 8 x 4 feet deep Gilmore Housing Project Housing Resources Group, Seattle, WA 2003; Architects: GGLO Seattle, WA; Photo Credit: Allison Kogler, Eric Haley
[Interior]
THE MOON WAS A RIVER Glass elevator tower mural 20 x 8 16 panels, Western Oregon University, Valsetz Dining Hall, Monmouth, OR 1998
Highly visible from the outside, this mural uses iridized glass to create a metallic shimmer when viewed by heavy pedestrian traffic along the corridor. From the elevator, beveled glass affords the passenger excellent visibility to the campus beyond.
CIRCUMNAVIGATING THE CENTURY Glass mural, 42 panel 21 x 42, Clover Park Aviation Trade Center, airport lobby windows, Puyallup, WA. 2001. Commissioned by Washington State Arts Commission Architects: McGranahan Group, Tacoma, WA; Photo Credit: Russell Johnson
The imagery of this mural evolved from a front elevation of the Wright Brother’s Flyer. Cables and struts were extracted and used in the design throughout. Aviation imagery, from the central conning tower to the B-2 wing formations, was an attempt to integrate aeronautic symbolism in the same way the architect used wing forms in the rafter trusses and in many other references throughout the building. This mural happened to coincide with the centennial of the first flight at Kitty Hawk in 1903.
