Public Art Installations
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STELLAR MITOSIS University of Alaska Anchorage 35 x 15, entryway mural for the Integrated Science Building, Anchorage, AK 2014
Stellar Mitosis is an abstract design that crosses all the scientific disciplines at the University Science Center, hopefully connoting organic biometrics to astrophysical symbology. It was intended to be a meditation on micro and macro spaces. To me, the universe is equally vast on the microscopic level as it is on the astronomical.
STELLAR MITOSIS University of Alaska Anchorage 35 x 15, entryway mural for the Integrated Science Building, Anchorage, AK 2014
Installation, July 2014
FULLY INVOLVED Chugiak Fire Station Headquarters 16 x 8 mural for their training room, Chugiak, AK 2014
The glasswork is intended to evoke explosive movement held in check, heroic energies at the ready, dramatic moments about to unfold... the intent was to modernize the imagery in the medium of glass, which is, I think, a kind of frozen energy itself, ready to explode when light hits it.
STANWOOD LIGHTS 14 x 6 library mural for the Family Resource Center, Stanwood, WA 2013
This mural is a signature piece for the Family Resource Center, highly visible from the Stanwood Library and the main thoroughfare.
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, Utah
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. Just as Escher created impossible geometries, Elevator is a study in post-quantum geometries, where spatial anomalies co-exist in kinetic tension.
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]
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.
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.
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
[exterior]
SCALES OF HAMMURABI Glass murals (2) 40\' x 13\' in 16 panels, 40\' x8\' of 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.
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.
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]
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...
ENGINE Portland, OR Main Fire Station Headquarters entryway mural 12\' x 12\' 2009 Architects: Thomas Hacker Architects
[interior]
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.
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.
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]
PHOENIX MOON Glass mural, 18 x 12, beveled, textured and blown glasses, Snoqualmie, WA Fire Headquarters. 2005; Architects: TCA Seattle, WA Photo Credit: Allison Kogler, Eric Haley
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.
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.
CASCADE CONSTELLATION Cascade Valley Hospital, Arlington, WA dining hall mural 25\' x13\' 2009 Architects: Taylor Gregory Butterfield Architects, Edmonds, WA
[exterior]
QUIXOTE COMET Glass mural, 14 panel s curving 70\' x 20\', leaded, textured glasses WA 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 Headuarters 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.
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.
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
[alternate view]
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
[exterior]
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.
MILLENIAL HOURGLASS Glass mural in steel framework designed by the artist, 10 panels 15\' x 12\', Camano Is. Visitor Center & Art Park, Camano Is. WA 1998 Building Contractor and Park Coordinator: the artist Architect: Design Northwest Stanwood, WA Photo Credit: Steve Keating
This mural was designed in conjunction with the architecture through a collaboration between myself and the architect. The building was intended as an art statement and eventually won awards from the American Institute of Architecture. We designed not only the building and mural, but the gardens and park it adjoins. This was a highly controversial project at the time inasmuch as nearly all traffic to our island passes this park. Eventually we completed the sculpture gardens and Visitor Center with local donations and because of our success, received a donation of an additional 3 plus acres to continue the sculpture park.
MILLENIAL HOURGLASS Glass mural in steel framework designed by the artist, 10 panels 15\' x 12\', Camano Is. Visitor Center & Art Park, Camano Is. WA 1998 Building Contractor and Park Coordinator: the artist Architect: Design Northwest Stanwood, WA Photo Credit: Steve Keating
[interior]
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.
FROZEN EXPLOSION Glass mural 10’ x 8’; 9 panels Camano Island Library, Camano Island, WA 2004 Budget: $10,000 Architects: Dan Nelson, Design Northwest; Craig Thompson, Dykeman Associates
This artwork has the quality of reversing colors when viewed from the outside versus the inside. Dichroic glasses and flashed mouth-blown Fremont glasses change radically depending on the viewer’s position. Coupled with the geometrical deconstruction of the design, the glass ‘fragments’ create considerable visual excitement.
ATLAS AT LAST Glass mural, 5 panel curved leaded 15\' x 7\' total dimension, Columbia Elementary School, Wenatchee, WA. 1989. Commissioned by Washington State Arts Commission
This was my first public art commission. Its design comes from earlier series of what I called Science Fiction Mythologies. The elementary school children discovered a plethora of meaning in the imagery. Upon returning a decade later, the adults were quite inquisitive as to the \'real meaning.\' \"Ask the kids,\" I said, \"they\'ll be pretty close.\"
CYBER-TOTEM: Lodge of the Elders Glass entryway mural, 20\' x 8\', 10 panel Camano Island Community Center, Camano Island, WA. 2001. Architect: Design Northwest, Stanwood WA
This entryway mural is the gateway to this community\'s only real public space. Inside we have filled the lobby and cafeteria with local art that rotates on a regular basis. The glasswork in the mural features blown glass by Marc Boutte, a local artist on the island. This work was a donation that received funding through a Gap Grant from Artist Trust.
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.
LIGHTKEEPERS Glass murals (three) 12 x 5 of beveled, dichroic, iridized and antique glasses. Ogden Regional Center, Ogden, Utah. 2006. Commissioned by Utah Arts Commission. Architect: Greg Allen, MHTN Architects, Salt Lake City, Utah
LIGHTKEEPERS is meant to be an emblematic signature for the Ogden Regional Center, symbolizing in its overarching design a stylized icon for the building and its agencies. With its fifty foot span of rhythmic glass movement it will be a formal and elegant logo that will complement the Prairie Style architecture in the same way Frank Lloyd Wright\'s arts and craft glass designs perfectly fitted his own architecture.
WHIRLED Burlington, WA Library 10\' x 12\' mural 2008
WHIRLED is a small world, one that is in the process of being formed or one that is in the process of coming undone. It has imagery that is wing-like, as if the mural might be taking wing or might be folding up those wings.
DEWEY DIGITAL 12 x 12 Marysville Library, Marysville WA 2008
DEWEY DIGITAL surrounds the entryway to the library with a design meant to create a dynamic portal into the virtual stacks of today’s information world.
VESSEL Glass mural 7 x 7 for hospital chapel. Skagit Valley Hospital, Mt. Vernon WA 2007
The artwork for Skagit Valley Hospital\'s new chapel was meant to evoke that place where, at its center, anyone might find a measure of repose. A spiritual solace. A calm within a world of catastrophic forces. I do not have the words for those moments when worlds come undone. I think there are no words. In the end we would all like answers and explanations. The artwork has none. But I hope it offers some small comfort.
ARKANGEL Entryway mural for the Christian Motorcycle Association headquarters in Hatfield, Arkansas 2011
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.
