1. "Confluence: Eagle's Rest", Plan for landscaping in St. Louis, Missouri 2003:

A series of graphic installations for Arts in Transit, and a landscape restoration for the USML South Station is scheduled for Spring 2003.

The problem on this site was a steep bank, at a train station used by many commuter, in a city with little indigenous vegetation. The solution was a colorful design based entirely on native trees, shrubs and flowers that could be seen from the train windows. Graphic displays in the stations picture how details of the site might look in twenty years.

Click here to view images from the site.

2. Research artifacts for the Re-design of Back Cove, Portland, Maine 2000:

Including drawings on historical documents (courtesy of the collection of the Maine Historical Society) 24" x 24" details of 16 panel grid installation. In the collection of USM Gorham .

The problem on the site of the city of Portland, was that it was built on fill in an estuary. Historical connections to both indigenous peoples and wild species had been buried. The solution was a poetic and metaphorical installation in the City Planning Department of the University. It made connections between lost species, settlers records and development . It also made proposals to reintroduce predator species in enclosed city areas. This would re-establish ecological balance.

3. "Zooming in on Back Cove". Portland, Maine 2000:

52" x 52" GIS image of how open space could be identified and connected for habitat linkage in Back Cove. Developed from a collaboration with Irwin Novak. Shown as part of an exhibit at Art Gallery at USM Portland 2000.

The problem in Portland was addressed a second time. This time the solution was to study the GIS maps to see where the original landmarks had been and discover still open areas whose restoration might invite ecological health.

4. "Echo of the Islands", Vinalhaven, Maine 2000:

If visitors to a fragile island treasured the landscape, might they treat it differently? The lightest touch on the land blurs boundaries between human activity and natural forces. One of two granite sculptures, 6' x 4' x 8'. Part of a landscaping installation for the ferry terminal, the point of entry and departure for everyone that lives, or visits on, Vinalhaven Island.

The problem at the site of the Ferry terminal was that island visitors and residents were concerned about over-development. There was the danger of becoming de-sensitized to subtle changes whose cumulative impact was irrevocable. The solution was to build two sculptures, that so subtly reminded people of the setting, that they were almost invisible.

Blue Rocks

Please see a description at Green Museum ( greenmuseum.org )

5. Center for Maine Contemporary Art, Rockport, Maine 2002:

View of the gallery from the back end of the solo installation illustrating the water interactions between the Gulf of Maine and the St. Louis, Missouri watershed and various trigger points in the progress.

This installation was designed to be part of the Camden Conference 2002 on Water and Energy. The subject was the project: "Ghost Nets." The problem in the installation was how to make clear the connection between very small actions and choices, as had typified "Ghost Nets" and larger implications, as typifies "the Cities & Oceans of If". The solution was to design an installation whose mapping demonstrated how the coastal urban area of Portland, Maine related to much larger riparian and watershed national systems as well as the oceanic fisheries and other cities.

6. Center for Maine Contemporary Art, Rockport, Maine 2002:

Every day of Ghost Nets was recorded with text and imagery to escape the traps of purely iterative monitoring. The Ghost Nets site was modeled abstractly to see it freshly. Each of the three sculptures was 4' x 4', constructed with plaster, rocks, feathers, and paint.

The problem in journaling for Ghost Nets was the effort to keep objective records of subjective experiences. It required making the private, public. The solution was to treat the display as a tapestry of thoughts and experiences with which viewers might identify.

7. "Transformation of Degradation". Ecovention at the Center for Contemporary Art, Cincinnati, Ohio 2002:

We think of inland cities as landlocked, but the case can be made to connect Cincinnati to the fate of the Atlantic fisheries. 45' x 20' paint, sound, graphics, and iron bed with fishnets.

The problem in this installation was making the connection between urban and open space, salt and fresh water fisheries. The solution was to both illustrate the geomorphic connections and mount a timeline of two hundred years of fisheries discoveries and loss over the mapping. Primary cities that were part of this study were indicated in gold paint.

8. "Song of Bones", Bergen Belsen, Germany 2002:

When a site of mutilation has been recovered by nature, how do you restore memory without violating nature? The Bergen Belsen memorial competition proposal is based on shaping the original inmates camps as a bird with a broken neck. The landscape plan for the site restores "Ecotones" (progressive vegetative buffers that protect riparian zones), using those zones to define areas of the camp. 15" x 20" details of 23" x 33" digitized presentation sheet.

The problem at Bergen Belsen was that it had been the site of human atrocities and nature was obscuring that history as time went on. The solution was to systematically use riparian species to define edge areas and then relate those edges to an aerial design with metaphorical power for the whole camp.

9. "Through A Glass Darkly", an installation for "Imaging the River", now on view at the Hudson River Museum, Yonkers, NY until May 23, 2004:

http://www.landviews.org/theriver-cr.html

Photographic exterior signage, interior paintings, floor installation and power point display with audio. The problem at this site was how to make the connection between interior perception and exterior reality. The solution was to an installation with two parts: one inside and one outside. The external part made an implicit proposal for restoration on the museum grounds. A series of interior paintings were based on views out the museum windows towards the Hudson River. In each case, the view was obstructed by signage or vegetation. The floor of the installation indoors was a mock "road" leading to the wall, as our own "impervious" short-sightedness about the environment leads us to make serious errors. Outside, another part of the same installation, indicated where a former stream had been under another kind of impervious surface, that might still be daylighted.