Interior Onsite Lobby Entrance and Show

Rocha Art, San Francisco, CA, 2015

Running the white line and Highway reflectors from Brannan Street strait into the lobby to bust apart the painting and become the show. The painting wraps and rips and stretches around the lobby. The negative space is black, the ovals are the white of the gallery walls.

Exterior Onsite Three Story Mural Project, on Brannan Street between 3rd and 4th Street

Ian Ross Gallery, San Francisco, CA, 2015

The white line of the parking lot “rises” up the wall to become the negative space of the painting and burst open connecting with the sky.

Blade Runner Hair Salon Remodel

Built Project 
Haight and Shrader, San Francisco, CA, 1999

A painting, built.
Hundreds of frosted plexi-glass disks suspended from the ceiling on aircraft cable are back lit and projected upon. A second skin of dots completely envelops the space. In the first cutting room walls and ceiling are built out in a regular marching rhythm. Functional cutting stations, with half circle cabinets rising out of the floor, circular mirrors on aircraft cable line the walls up to the ceiling and large plexi-glass disks cover the ceiling entirely. As the ceiling dots march back through the space they reduce in size and increase in number to compress into a chaotic intensity down the narrow hallway. In the final room the dots explode large and huge and sweeping once again.

A New World Trade Center: Design Proposals

Max Protech Gallery, New York, NY, 2001

Design proposal drawing and collage done in collaboration with Barbara Staffacher Solomon. Sections of collapsing and smoking remains were drawn from life at Ground Zero and collaged into the final proposal. Ascending Towers, Descending Memorials. The new towers ascend thinner and taller from the slipped footprint of the original World Trade Center towers. Steel and mirror glass, they reflect orange at dawn and at sunset. Light bathes the skin of the towers and projects up to the money god. The towers rise from a memory of the ruins. Where the towers touch the earth, two memorials descend from the footprints of the World Trade Center. One third of one building lobby is a rectangular pool of water. One third of the other is a floor of mirror. The memorials descend as deep as the original World Trade Center towers were high. One is a shaft of water. The other is a kaleidoscope of mirror. Both are lit from 110 stories below.

Rock Scissors Paper

Canessa Gallery, San Francisco, CA, 1999-2000

A collaborative exhibition with Barbara Staffacher Solomon.

Rock : A large presentation drawing showing the design of 'Vesy Green Park' in Battery Park City, New York. Done in collarboration with Quennel Rothschild Associates and Barabara Stauffacher Solomon.
Scissors : Our models and drawings of the 'Blade Runner' hair salon. Built and currently in use on Haight Street.
Paper : The Paper Scar rips through the gallery walls, Misbehaving Architecture.
A gigantic glacial cliff of seamless white paper installed with the help crews of friends. The crumpled scar of paper wrapped and billowed around the gallery to envelop the viewer. The piece climbed two stories to bringing the viewer's eye to an otherwise easy to miss view up the Trans America Building. The Paper Scar came to a point at the other end. Original and operational gas lanterns lined the space, poised to ignight. Afrer the show I drove the Paper Scar to be recycledat the dump.

SCAR: Construction Paper

Door 3 Gallery, Myrtle St., Oakland, CA, 1999

A scar as Misbehaving Architecture.
The scar reveals evidence of something having happened there; an eruption in the placid solidity of the gallery wall.

Villa Montalvo Artist Residency

Saratoga, CA 

Artist Collaborator on Architectural Design
Composer's cottage designed in collaboration with Architect Dan Solomon and Movie Score Composer Patrick Gleeson.

The four solid and thick earth colored walls of the two cottages (originally designed to be rammed earth) protrude out from the land. The buildings are imbedded in the grade of the site and project out like speakers for their performers within. The space in between the two cottages is terraced as an amphitheater for intimate outdoor performances.

911 Drawings

Just after 911 I flew to New York to help a friend, documentary filmmaker Suree Towfighnia, make her film "Caution: 2001" at Ground Zero. Air Force guards posted at barricades would not let her film, barring all media, they called it a "Crime Scene”.

I had my sketchbook. I began to draw. The humble slow act of my pencil drawings they respected. Guards gave me their knives to sharpen my pencil's, lozenges for my throat, and once an army issue sweatshirt at nightfall. I became like the guards, a fixture. 
Suree filmed me drawing. 

People came up to me crying saying "I was drawing what they were feeling". That they came to the site every day. Would I send them copies of the drawings? I had a pocket full of addresses of people who wanted copies. Pre-Internet, pre-cell phones, I send xeroxes to strangers. 

The first rotation of guards were like ambassadors to the public. But two weeks after 911, at the same time as the first American counter attacks, there was a guard rotation at Ground Zero. The new guards came from a war zone overseas, they were no longer the ambassadors passing out tissues, but instead arrived dressed in riot gear and regard the weeping crowds as trespassers. 
I drew the new guards.

Once Suree left NYC, to rest my eyes and throat from Ground Zero, I alternated every other day as a volunteer at the family center in mid town on the Hudson.  A battered women shelter Horizons was the first to be able to mobilize funds, long before Red Cross. I took a position with Horizons at a desks listening to the stories from a line of people who had lost their jobs in the twin towers. I would listen to one at a time, then advocate for them with a more concise version of their story two girls at a desk in the back. They would cut a check. I would handed to them.
The best job I've ever had.