The Displacement Garden, Los Angeles, CA, 2016
An unused space in the fine arts complex is converted into a Slow Time Zone where students staff and faculty are invited to contemplate the arrangement of solids and voids and/or participate in the ongoing evolution of the space by rearranging the river rocks that comprise its primary material.
Loyola Marymount University, Burns Fine Art Complex.
Collaboration with Paul Harris.
We Too Were Once Strangers, Santa Ana, CA, 2015
We Too Were Once Strangers is a celebration of the heritage and achievement of the Japanese American farmers of Orange County. In 1940 there were 245 Japanese “Issei” farms in Orange County. The memorial is located on land once cultivated by the immigrant farmers. The produce from the farms was sold at a market in Santa Ana located at Broadway and Fourth Street. Celery was one of the four main crops that were grown. The stone paving of the base recalls pathways in traditional Japanese gardens, which often featured recycled millstones as accents.
Urban Forestry, Long Beach, CA, 2012
Powder coated steel. An architect’s stylized drawing of a tree is rendered as a sculpture / sign.
Chino Wetlands Park Entry Sculptures, Chino, CA, 2007
Design of sculptures, signage and information structures constructed primarily from recycled water treatment equipment. Art and signage designed to explain function and significance of wetlands and importance of water conservation. Inland Empire Utilities Agency, budget incorporated into overall construction budget. (Collaboration with Claudine Jaenichen). Budget: $419,000.00.
Equinox Sunrise, Fish All Faiths Chapel, Chapman University, Orange, CA, 2004
28’x14’x6”, anodized aluminum tubing. An abstract evocation of daybreak, the sculpture hangs in the main worship space of the chapel.
Community Center Banners, Anaheim, CA, 2003
Vinyl, text and photographic images, six banners, each one 4’x16’. The images on the banners were taken by community members with disposable cameras provided by artist. They depict the children and adults who use the facilities and services provided by the center. Commissioned by the Anaheim Redevelopment Agency.
Holocaust Memorial, Leatherby Libraries, Chapman University, Orange, CA, 2004
24”x48”x36”, steel, water, granite, bronze. Water from a child’s hands nourishes a symbolic sapling. Text objects commemorate holocaust victims and survivors.
Justice Center, Seattle, WA, 2002
Lobby and stairwell sculptures for municipal courts, sculpture, furniture and wall relief for police lobby. With Pam Bayette, Michael Davis and Norie Sato.
Bounce, Summit Gateway Building, Anaheim, CA. 2002
Steel, paint. 14’x12’x6’. Abstract sculpture adjacent to Edison Field suggests the path of a bouncing ball that might have been hit out of the nearby Angels stadium.
Anaheim Colony Boundary Markers, Anaheim, CA, 2001
Concrete, fiberglass, lighting, landscaping. 23”x6’x6’. Four identical median sculptures mark entrances to historic district of the city. Markers contain lighting elements.
SMURRF Project, Santa Monica, CA, 2001
Water reclamation facility designed to educate the public about water use. Design of architecture, equipment staging, development of educational program and landscaping in collaboration with CH2M Hill and Adolfo Miralles, Architects.
Hill Canyon Water Treatment Facility, Thousand Oaks, CA, 2001
Glass, water, GFRC, 14’x5’x2.5’. Water slides down the surface of a textured glass panel flanked by fiber reinforced concrete wings. Piece can be viewed from both lobby and conference room.
The Riddle of the Sphinx, West Hollywood Community Center, Los Angeles, CA, 2001
52”x18"x82” Fiberglass, concrete. Computer generated form of a sphinx sits atop concrete base inscribed with the riddle of the sphinx.
Anaheim Veterans’ Memorial, Anaheim, CA, 1999
Bronze, water, concrete, landscaping 70’x150’x10. A concrete column with a bronze relief stands in the center of a circular plaza bordered by seating and water elements.
Westside Light Rail, Portland, OR, 1998
Design team collaboration with artists Bill Will, Norie Sato, Tad Savinar and Mierele Ukeles, Tri Met engineers, ZGF architects and Murase Assoc. landscape architects. Design of twelve stations including landscape, seating, architecture, hardscape etc. Art Budget: integrated with overall construction budget.
Liberty Plaza, Chapman University, Orange, CA, 1999
Concrete, landscaping, water, 110’x76’x16’. A chair sitting atop a low mound faces a section of the Berlin Wall located in an oval pool. Budget: $75,000.00.
Metropolitan Biosolids Center, San Diego, CA, 1998
Sculpture, landscape, architectural treatments, educational materials. Elements of the architecture, landscape and artworks designed to educate visiting public about the workings of the facility and the place of the plant in a larger cultural and historical context.
Point Loma Pump Station, San Diego, CA, 1998
Sculpture, landscape design. Fiberglass and steel sculptures on pump station building recall nearby ocean’s colors and filtration process of facility. Landscape includes paving, seating and section from outflow pipe. Collaboration with ONA landscape architects. Art budget: $93,000.
Newton Police Station, Los Angeles, CA, 1997
Mixed mediums various dimensions. A suite of works designed to humanize work environment and emphasize positive police-community relations at a South Central Los Angeles police station. Includes sculptures, drawings and photographs.
Aviation Station, Metro Green Line, Los Angeles, CA, 1995
Design of elevated metro rail station, including paving, landscaping, seating, hand rails, canopy, elevator shaft and sculptures (collaboration with Escadero Fribourg for Los Angeles County Transportation Commission).
Anaheim Anamorph, Anaheim, CA, 1994
Mosaic, mirror fiberglass, cast stone, 30x23x30. Anamorphic image of Grecian athletes is reflected in mirrored column (collaboration with Michael Davis and Ann Preston).
Market Square Park, Houston, TX, 1992
Sidewalks and plaza for downtown park recall local history with fragments of tile, stone, old brick and concrete from buildings and walkways set into walks and seating areas. Design team collaboration with four other artists. (Last three images are details of 2010 redesign).
Joss House, Weaverville, CA, 1989
Various sides. Redwood, enamel, sandblasted calligraphy, concrete, stone. Panels with Chines characters mounted on walls of state park interpretative center integrate model architecture with nineteenth-century Chinese temple. Concrete seat on adjacent patio also employs fan motif.
Memory’s Vault, Port Townsend, WA, 1988
Concrete, steel, stone, 40’x60’x16’. Contemplative garden-like area accompanied by columns inscribed with poetry. Situated in a state park among bunkers of a pre-WWI artillery battery.
Wall Gazing Gallery, Cal State Fullerton, 1988
Fir, steel, water, 12’x12’x14’. Water pumped onto roof of structure cascades into pool below.
A Garden of Voices, MacArthur Park, Los Angeles, CA, 1986
Various sizes, concrete, rubble, speakers, three components. Three seating areas, each of which has speakers broadcasting poetry in the languages of the people using the park—English, Spanish, Korean, etc. (With Doug Hollis).
A Bridge to Angel Island, Cal State Long Beach, 1986
Steel, wood, glass, 19’x7’x1/2’. Chinese poems about the immigration experience sandblasted into vertical panels reminiscent of barracks on Angel Island. (The second and third images show later reinstallation of piece in an interior setting).
A Talking Garden, Oakland Museum of Art, 1982
Steel, fiberglass, water, fir, 40’ x80’x14’. A pair of buildings, one fitted with a wind harp, the other with pumped water falling from its roof into the pool below. The buildings talk with each other and offer an invitation for human conversation as well (with Doug Hollis).
