Plus we're not bad for
a project together but

we have our pieces of the product in me
out where Nicollette St Paul reads I order

cooperation Plus I was commissioned to do
a talk with the budget now we're going.

To do anything to peace and

we met a this week a potty I
was very impressed by the word.

Perfect gracious idea
unconventional practice

which is what this lunchtime crowd
of lunchtime series is all about.

Because bussing is trained as
a landscape architect right.

And enormous Right so you know taking
kind of all the full disciplinary.

Points of departure and I think you're
really divergent merging those two

trainings to get it so I did it for.

We're.

Not the buildings that.

Was the studio.

For the dog so.

She was her B.F. folded little letter.

To create it or I was.

Just completely lose my middle school.

Experience or.

The heat of the mold was created or.

I used it here that we
wanted to create here.

This really is the big.

Draw for a new year.

Or the original site the civil war or.

The the.

The right to disappear or.

Move.

Well.

There was a phone from yeah so yeah.

She.

Doesn't think Cheston.

Are a crazy yet I love this is so
informal like I think it's best to not

over all her prepare because
you miss kind of some

live wire experiences that could happen
kind of in the presentation of it so

this is loosely structured and
can you hear me OK OK.

So if you want to interrupt there's
really no you know ending point that

we have to get to or anything of

I'd love to you know geared towards
whatever you're interested in.

I'll just start with an interaction

I guess I just started the beginning
right that's kind of regular a disturbed.

I as as Tristin said I got
my ideas my degrees in in

sculpture as well as
landscape architecture and.

I.
Started public art in two thousand and

eight after being laid off from a pretty
big design firm that was working.

Along with half of the office so
that's kind of.

I was kind of forced into
this a little bit but

it was the best thing
that ever happened so.

I actually I think that's probably
have been through a lot of people and

why you wind up becoming unconventional
a little bit I don't know if you

intentionally try to be but
it winds up that way and

it's a good fit for me.

I come from a you know I was
born on a hippie commune on and

the one nine hundred seventy S.
and fitting in has never been my career to

make a really easy thing for me so so
going on conventional was just kind of a.

Real natural approach when
I first got started so

I had lost my job I read
a book about public art.

It was fascinating and.

I went I went to a local fabrication
shop and just started building things I

just you know well if I can
learn how to use the tools and

if I can understand what kind of materials
are available to put things together then

you know my imagination can
just expand from there so.

These are just a kind of some background
shots of the early phases when I was

actually much more hands on fabrication.

It's changed a lot over the years and
fairly quickly so

you can really only do so much if if
you're if you're making your own work so

very early on I realised I
needed a lot of help and I.

Started to hire out fabrication
shops around the country.

Today what I normally spend my day
doing actually I'm in a work around.

Is overseeing the public so
I get the public involved in

pretty much every piece and
so I do a lot of.

Love communication with the public
about what they're interested in and

how they can be involved in the process
A I don't like just plonking

something into an environment where there
are some forth from the community so.

I work with with a lot of public groups
in my process and then a lot of.

Opening events and and
kind of engaging them on all sides so

from beginning to end.

There's a lot of interaction there and
I think that's really important for

public use.

This is a right here survey says this
is at Texas Tech campus in love it

this is have been Calgary Canada.

This is in Shreveport Louisiana so I also

not only engage the public
through you know talking in and

presenting my work in their ideas but
through hands on workshops so I like to

get them involved really like get you
know make it a meaningful experience so

a lot of what they input winds
up influencing the work itself.

This is in Tucson where
I actually grew up.

Sure.

So.

Yeah well there's a there's it's
interesting because you don't want you

don't want to wind up with a camel right
like the horse designed by committee so

so really I have a very strong vision for
the artwork itself and

a lot of the pieces like this for
example have no real community input.

But I'll get into some projects
that like the direct input and

wound up being produced into the piece so
in that situation I create more of

a framework for the the vision of
the piece the overall look and

then details are filled in
through with the public input so

I'll give you some examples
of how that works.

So opening in there and
you know a lot of oversight now so

early on I started I was doing
the Fair Work ation got away.

Out of hand because there
was too much work and

quickly started to hire fabrication
companies my primary one

currently is in San Francisco
called gizmo art production and

there are probably managing about ten
of my projects but I like to make sure.

It's interesting to really in my space
because it's like there's a lot of public

part where I have to be out there and
then but

the creative part which I'll get into
a little bit is very solitary for

me so all of this part where Him I'm
traveling about half past my time is

traveling across the country and world.

Overseeing teams of people so
I subcontract everybody out I just work

from home I don't have any employees
I make a very good living and

I contract fabricators structural
engineers installation teams

I do all my own design work so this is
a project in China that I installed last

last year just overseeing some of the
installation process and then working with

the fabricators through the prototyping
phase to our design the piece and

then we'll come up with different
techniques of how to build it and

little parts of it and then our start
to work on it is that working for

the P.C. and can we make improvements so

this is kind of through
the process of getting it built.

But this is my public face right
now is how I interact with people.

I have a very private side to other so
this is all in gauging with

fabricators and improving prototypes and.

Overseeing how things are coming together.

And installation.

Not all of it I started
out was a company in two.

Where I was.

Raised so.

What I found is great for
fabrication companies is once I have done

exhibit design because I do a lot of
these interactive which I'll get into but

they understand multi mix in materials
kind of thing and electronics and

lighting and that kind of thing so I like
to work with fabrication companies or

can do plastics and metal and
you know and have the capabilities

to bring in the lighting and things so
those are kind of hard to find.

OK So this is this gets into.

My private side of life kind of
thing because that's really where I

actually create the ideas and
the creative process for

me is very isolated experience this
is my this is the view from my desk

I basically when I'm not
traveling I never leave my house.

I just I need like basically
solitary confinement to.

Be in that creative space which
involves nature nature is kind of my.

This is this is just down the hill from I
get in a kayak and I go float around and

come up with ideas so
that everyone has their own process but

what's interesting to me is a.

It once you find what process works for
you it can be very unusual but

finding that process that works for
you sometimes takes time so.

For me it's been a good balance of I have
got this very public and an engaging

side of the profession and then when
I actually have to be creative and

do design work and
things it's very solitary.

So what I do from my home studio.

Is is basically I'm just working on
the computer and looking at the view I'm.

I'm living right now in.

Limpia Washington so that was the Puget
Sound I'm like you know that and so I use.

Nature as an inspiration you know
you'll see throughout my work.

But basically at home I'm
designing the new pieces and

new ideas on the computer use
a program called Rhino typically.

This is a piece going into
Charlotte North Carolina I

was going to go into the details
unless you are interested but

I was just kind of showing you
what I do at the home studio.

Which is is mainly graphics on
the computer and then model building so

I get really into physical models.

And the aspect of of of that kind of
scale I really enjoy that smaller scale.

And then hiring it all out to get big.

So these are just all
physical models that.

I enjoy working on so
that's all done I have a three D.

printer or three D. Skinner

in a variety of different lighting things
that I can put these all together at home

so.

Yes typically.

Usually the process involved
I'm not applying for

new projects right now because I
just have more than I can handle but

typically the process is.

Applying to public calls for artists which
are posted nationally you know there

are several just different web sources
that can congregate those into one space.

Once you apply which is
a pretty easy process.

Then you can you get short
listed if you're lucky and

that's a maybe three to five people or
short list so

this is probably a similar process
to some of your practices but.

Then I would do a state visit.

So that's kind of a whole
analysis meeting the public and

understanding the say this is all
before I come up with an idea.

So then I go back to the home studio and
with all of that in mind.

So they're very state specific.

It's all it's all kind of.

It kind of sounds a little bit like
an emotional reaction to the space

I find emotions a really powerful tool and
design when you can get someone

to feel something about
the piece I got into art.

After having just crazy like
experiences with other artists work

like some of my influences her.

James to rel or rich or serious work or
just experiencing those

in space I love it I love going inside of
of the sculpture inside of artwork and

coming out again as sort of a I always
felt that it was a changing experience

if you if you can make sculpture that big
that you could enter it and so that's very

much like architecture you're creating
enclosures I just love enclosures and

I think a lot of this work itself is so

architectural it's a good balance for
you guys to see some of the.

Similarities that are going on.

And I'm sure in your design work there's
themes and concepts in relationship to

all that too so it's not that different an
artist is maybe just a little more fringe.

It's not as functional.

So anyway I worked in.

A number of places all over
the world these are just

some some quick examples I'll
go into a few in more detail but

this is in Tucson Arizona I
work a lot with steel and

different kinds of plastics and
lighting and

interactive technology so
this one in particular.

You touch this but and
then you can get the colors to jump

throughout the piece and
kind of have that.

Engagement and control over.

How the pieces see.

Coon made out of stainless steel tubing.

Kind of an immersion experience
again rake a walk through and

come out the other end it's
actually on a bicycle soup

it's large enough to ride your
bicycle through the center of.

All of that again.

Inspired by nature you'll see
that throughout the work so.

It's good for
me to have my kind of retreat studio and

I'm just looking at nature all day and.

Learning a lot from that So
this is called seed pod

it was it's actually
a prototype piece for.

Something I was doing in the Houston.

Again looking at nature so these
are formed acrylic and there's an internal

aluminum coated aluminum structure
in there and early the lighting and

then touch points to allow you to
change the colors there's two sides so

you can engage people through the middle
of the piece and it's kind of

an interesting acoustic
experience in there.

And then I work with a lot of stainless
steel and for example this one when

we're talking about community
engagement this is an obvious way.

To.
Describe how engagement can get

incorporated so this is a police
station in Maryland these two.

Shields.

Are are the overall form that I kind came
up with and then I asked the community for

input and
on the tax that was incorporated so.

That all came from primarily the police
officers in the that work in the building.

I also like to have physical
interactivity whenever possible so

do technology but sometimes you get.

A lot of interesting public spaces if you
can invite people to actually engage their

work a take on a public very seriously
the word public like if it's going

to be in a public space I don't
want it to be like hands off or.

Inaccessible or
you know not inviting still

that's kind of the approach
the approach I take is that.

It's very welcoming and
encouraging you know to engage with it and

then better understand our I think public
art sometimes is kind of a gateway art

they call it gateway drug users and
Gateway.

Thing too to maybe you know
the galleries and the museums and

everything else that you need a grounded
understanding of the importance of art

before you're going to go spend your time
appreciating it so this is it isn't.

Sure.

I.

Don't know that they would
see it as a service but I do.

I do I think I think a lot of people.

In the general public.

Don't have an appreciation for a while
why would they would go to a museum or

into a gallery so
it's like a stepping stone I feel like

not to demean it because I think it's has
its own legitimate reason for being but.

I'm I'm a proponent.

I'm promoting art in general so so
however that happens however I can

make people appreciate art better and
then and then just experience or

entire world because that's
what art did for me is like.

You know I mainly see
the whole life differently so

if I can allow people that experience and

then it leads to a greater appreciation
like in all realms of art that so great so

this is a University of
Central Florida campest.

I'm not really going into
the conceptual details of these but

we could talk more about that but
there's a few at the end I want

to go into more detail about I'm just
showing you kind of materials and

my approach to allowing
the public to engage it.

In an amber of different ways so.

But you can kind of see
the common materials and

mediums that I'm working with.

This when.

I think there's a person
blacked out there but

this one in the center in the back
is a bell eighteen feet tall

there is a series of six of them
that's the one at Texas Tech.

Yeah it's a new dormitory building
it's a huge campus I mean it's like.

So it's one one alleges.

And I do very little interior
work actually but when I do.

Like this for this this one example is
a very simple concept that you could use

a sliding door system as an art piece to

do a piece that interactive and
changing so.

Again.

Working with the community up close if you
would get in here there's all of this is

text involving Bio Sciences and
things that was incorporated through

an engagement process.

They are permanent permanent meaning.

Twenty years kind of.

Permanent is relative but I think they
like to hear something like twenty years.

The lighting of the lighting's usually not
that long so I'll give you know I live

everyone has a plan of how to maintain
it L.E.D.S. is pretty much all I use so

you're talking maybe a ten year lifespan
until they have to change lights and

things.

Right.

For her for the ones that.

Are thin or like that I'm usually using
like a strip analogy strip light so

they're connected.

Very dense.

Diodes clustered on to
a a flexible Bay And so

you could bend it.

In that in those cases and then as
that strip goes bad they would just

you know replace that strip so
I try to use materials that.

Are off the shelf that they can come
back and fix if there's something.

OK So but L.E.D.S.
will always be around and you're going to.

You're going to find
something that's comparable.

So I'm going to go into a couple of
projects in a little more detail so

this is in near the Stanford
campus in Palo Alto California.

There's a series of six of these
sculptures made out of stainless steel.

And there.

As you can see I really like it
like a more fist forms holistic

that get have a view of center volume and
space so these are not

very easy to create out as she could so
I'm going to go a little bit into

the process of how this this
one in particular was created.

Again incorporating language collected
from the community this one's multilingual

it's like six different languages
there are in quotes and

things there was a lot of things
from Steve about Steve Jobs and

stuff from the community but.

We've even got Morse code and
mathematical equations and things and

so in that way I like to
you know allow allow for

the framework I come up with this overall
form and then I'd let like a different

level of story be told in the details.

So again stainless steel.

Here's a picture of it being fabricated
this was fabricated in Tucson.

You can kind of see how this would get and
and

then the strips of stainless
are all coming together.

With the tack welds and
then everything from from there get.

You kind of see we fit
it in the plywood form.

Yeah.

Right exactly everything's
design on the computer area so

the jig was probably routed and
these are water

stainless.

It's pretty lengthy process but it starts
to come together as they say I think we.

Always left a little bit of some seams
through it but it's just starts to

cut turn into one shape and then this
integration of a touch point here for

changing the lighting colors.

And then in the

final.

So I state it again

place.

I feel like if my fabricator can come up
with a good approach to it usually stay

pretty hands off so but
compound forms are not easy to create and

I tend to always be leaning towards them
so it seems like we're always inventing

the wheel when it comes to our health some
of these new ones are coming together in

the process so it is an art form in
itself the fabrication of these and

I in a way so.

Yes So
there are six of them they sit there and

evolving family I'd like to say so
it's a series of six.

Starting with the sphere and
growing into a it's of

I think that one only has three but
it goes into a five pointed shape.

It's for an area in Palo Alto
where there's a library.

Combined with an arts center combined with
a community garden so the growth principle

of that is bringing in the community
garden aspect the librarian and

the sculpture so so
again sites specificity is.

Trying to tell that story
of that specific location.

And then in the evening.

Projections a big part of the work so

you're going to get these if I
use point source L.E.D.S. which.

Come from you know from a single point so

you get these crisp shadow patterns and
they're always color changing so

again you get the touch point there and
you can go over.

Here eight the entire experience of six
of these in this court yard by changing

all the colors and.

How many where.

That's a good question
I have to look into.

I mean I know it's like
the world's greatest L.E.D.

that particular guy over I don't
have the lumens in mind right now.

Sometimes I'll use instead of point
source tell use many many and

then you get overlap in color
shadows they're a little bit

more difficult to read and
engage with but.

That's fun as well so

anyway that that's the Palo Alto
piece it was called brilliance.

This is in San Antonio Texas it's.

A freeway underpass It's
called ballroom Luminoso.

Again looking at how did transform this.

This urban and us real space into
something kind of like that juxtaposition

of like industrial Urban with something
that makes it feel like this elegance or

ballroom or maybe you might go
dancing there or something so.

These are there are six chandelier.

Lumen in a space in kind of tattooing
the entire thing with these

intricate shadow patterns
that are actually.

Recycled bicycle parts so
you get all these gears under there.

So this.

Part primarily bicycle parts and
each one also has this detail design area.

That tells you more and story.

From the community so.

On line you know I've done
a number of pieces of bicycles so

this one I think I was
actually collecting them local

different resources than I do
my travels there's always a.

Bicycle shop somewhere and
you know there's probably several here but

on lines easier.

This this story that I'm telling
in in the detail design is

from a Mexican card game
called Ludlow to rear and

I've adapted some of all the symbology of
that car game and made it into a bicycle

related seems so it's kind of
bringing in some of the cultural and

the sister Stan Antonio
with the bicycle scene.

And then they they change color and.

Change that space with
the feeling of it so.

OK.

So this is in Portland it's

it's not an emergency coronation
Center which is where.

A lot of public services go to like
if they had a big earthquake or

something up there they would go and
help coordinate the experience for

the city at the center so
I wanted to tell the story of.

Kind of what what their mission.

Or what they're there to do
which is help save lives so

this is called Heart beacon and.

Some of the early.

Fabrication process so
you've got these stainless steel

pieces and then this cross.

Cross road to being holding
it all together and

then they acrylic cladding and
it's kind of got two.

Walls an interior and exterior wall.

This is eighteen feet tall.

I think this came just in
two halves on a flat flatbed

trucks.

So this one this story is told through
the piece taking your heart beat so

it kind of reminds the public what what
the center is there to do which has saved

lives and projects that individual
heartbeat on to the walls in color and

sound Pad patterns so
it comes to life when you and

gauge it.

There is it's kind of like
those little heart sensors or

you can put your finger
on the doctor's office so

it takes your pulse and
then the light sensors pick that out and

then there's some sound components to.

And then you can walk through so
it's kind of two big wings and

then you walk through
into a public park space.

Again enclosures I just
love enclosures and

I'm probably guessing you guys do too
to be architects it's probably one of

the main reason to go into it
was a lot of enclosures right.

There.
It is called Fish bellies.

Lity Texas State University
in San Marcos Texas.

It's this abstracted school of fish
swimming through this courtyard.

They have a big amenity there
called the San Marcos river and.

I.
Kind of want to bring the life of

the river out into this courtyard where
all the students are living around and

create these little inhabitable Cubbies
that they could socialize in so

social engagement is something that
I'm thrilled by when the piece.

Brings people together and
people make friends because of it.

That's awesome.

So anyway then I turn this on for
the first night here and

there are living in their dorms up
above and the space was never used for

anything all the sudden here's a list.

Experience right so I didn't even expect.

Which has led to different work now
as I try I try to kind of those

things that are definitely running through
my work and engaging these these areas

where they compose and
do things has led to other projects that.

Kind of put people under
splay within the artwork but

here you can see all twelve of these
they're made out of she good so

acrylic sheet one inch thick
acrylic sheets stacked

together to to create
a twenty four inch thick.

Surface and
then it's all booked through bolted and

then we've got the ladies
strip lights inside So

again all of them are touch sensitive you
can cure it the entire lighting experience

or you can just lay around and relax and.

Enjoy the unique kind of sensation of
being involved with the art piece.

So.

I'm always I'm always
assuming people will use it.

That's kind of.

The point for me is that it's allowed.

Anything's allowed really so there are
structurally engineers I hire right now

I'm working with primarily a structural
in Charlotte North Carolina so

you know my whole team is kind of
scattered throughout the country.

There's not a whole lot a reason to meet
in person these days anymore you know

there's a good communication with design
sending design files and emails and

that type of thing you can really work
from wherever so I work very remotely

up in Washington State and
my team is kind of all throughout.

The country still.

This is the last one to talk about but
OK into a little more teach ill so

this is called bark which
is not my first title for

it but sometimes you run into
titling issues with a kind so

I originally called it cloud ring cause
it's based on a weather phenomenon that

they experience up in Calgary which is
which is called the Chinook arc but

that's kind of difficult to say so.

But it's basically where low
pressure comes in and creates this.

ARC cloud formation over the city that's
just like this kind of amazing and

unexpected phenomenon so this is.

Experience and
it is made out of a space frame can.

Struction so I hired a space frame company
in there called Delta structures or

a national company to design this space
frame structure on the interior and

then it's clad It was this kind of
intricate interlinear layers of

acrylic paneling.

I just wanted to give you an impression
of the sequence so this is a three D.

model that I printed to when
the project originally.

Can't give me the time frames necessary
because like probably a three year

project total.

Just so just a real simple
plastic might have been you

know maybe two feet diameter something
plastic model that was three D.

printed and I think it was interesting
actions because you can't print or pay so

then I glued them all
together into this ring.

A lady strip lights.

You know there is there's
the initial concept.

That moved into a full set
of construction documents.

Where I worked with a structural
engineer the Delta structure

system the fabrication team.

The general contractor for the so I eat.

There so there's kind of a large
larger group of people that get

involved.

Well I used to get more feedback
early on when you know when I

had less understanding of what
you could do structurally

Now I typically come up with
an idea knowing that I.

Know in the sort of physics of it and and
then I get a structural engineer after

I after I moved through kind of
concept phase and when the price.

Checked so.

That's kind of the sequence of events.

And then they do for footing as well so
there's a lot going on underground

electrical to the piece lots of
coronation on there and but you can.

Kind of see what these technical
drawings start to look like that

complex space frame structure and
the cladding.

Because

those.

I'll show you when you go here we go so.

Yeah it's an extra did so under in
the middle so the walls are straight in

the center there and
then on the outside are all compound.

And then the top is is one.

Sin us band the top and bottom so

you'll see is start to put the Clarion
on so it was all assembled.

In the shop and then taken apart and
reassembled on site.

So here's some of it getting
put together on site.

You can see these it's kind of
like a board walk on the top and

bottom with these lads these are all
only curved in one direction and

then the compound curves
all on the outside.

So here's kind of the final product
This one's also interactive so

you there's a point back here where you
can hold your cell phone up to it and

whatever is going on on your screen
whether it's video or imagery this

sculpture will try to emulate with
its lighting sequence so there's.

I believe there's forty
eight lights in there.

So this is not down the strip
this is don't fixtures.

So in kind of a low low resolution
way it'll try to emulate so

if it's video you'll see kind of
the general the same colors and

motion going on on
the surface of the piece.

Or if even if you hold dear you know
it's basically a back camera there so

if you hold your You're close if you were
maybe a red jacket the whole thing will

turn red or something so it's trying
to be emotive or perceptual kids

like a living organism might
be it's trying to copy you.

So.

It's trying to blend in.

Any way another part of this
particular experience was engaging.

Multidisciplinary team of artists to hold
an opening event so this is a dance troupe

that was local We also had a composer
write musical score for the piece and

perform it to the light to a lighting
sequence that we programmed so

we had kind of this.

I love that idea that can be cross
disciplinary with other artists.

So here's can that example of
that hold in your cell phone up.

And.

Use during the day so
we're using some of these.

Frosted acrylic pieces they really
hold a lot of light on their own

so during the day it kind
of glows with this weight.

Structure but I really like
the industrial look of the pieces.

I know a lot of artists
probably don't you.

These kind of materials because they're.

You know they're to industrial for
the fine arts world but

I think out in a public space.

It's pretty interesting and kind of
have that juxtaposition of just common

materials used in unexpected ways.

Yeah.

Well it's designed to drain
through completely so so.

Instead of trying to make it what
are you trying to do the opposite

which means it drains well and
air can get in and then flow.

It will need regular cleaning in that case
there's access hatches that can get in and

power wash and that type of thing.

Here it is incorporated
into the larger park in

Calgary.

I saw the design of the park I thought
this would be the best corner but

no they didn't get involved necessarily
they had already had their design

in place.

Yeah I think we came in a little after
them but they were prepared for us.

So.

I.
Think that might be the end of it so

yes.

Like you for just a particular project.

It kind of hands like in the public space
there's a lot of vandalism issues so

I love using these kind of materials
Well it's not always possible so

I wind up there and working in
metals typically if if this space.

Can't handle something I mean these this
can be regenerated the surface just with

orbital sanding but you know if it is.

It's not a sturdy obviously
a stainless steel would be so

a lot of why choose materials is just
based on a specific location and

not all communities are comfortable
with something like this because it will

require more maintenance and.

So.

No but I am familiar with her work
she does a lot of roller coasters

very.

I am parallel to a national poor.

Which I love but.

I think it's just my luck I just have
such a intrigue and compound shapes and

curves and just takes off geometries.

So drawn to them usually all my
work has got that feeling and

I notice.

They think so.

It's like the tilt tilted are at the top

of the lifted the arc is
a little better but ellipses.

Like that one in Seattle at that moment.

I think it seeing him saying that
he can you like it can be so

industrial is was inspiring
to me you know it doesn't

have to be this fine bronze something or
other you could really use an.

A material that can hold up you know and
it could create or

that volume like volume out or
as I like spaces that have a lot of

volume.

I don't think there could be too
big I mean I could go back to.

Their duty.

Early and I showed some models.

Piece in Shreveport Louisiana is actually

probably the largest although it's not
realized it's just a physical model

but.

Some of the like this one is two
hundred twenty five feet long

it's like a city block.

And probably I don't know
twenty feet tall or so but

you know it was we were just hired
to do the design concept and

they were going to raise funds which
I think they've had probably trouble

doing but this is called line and
sky you get that sky element and

then below there is this
continuous line made out of.

Rolled tubing and it's based on that
child's work Harold's purple crayon or

your drier whole world out of one line and
so

it was really a fun opportunity to engage
the community in what like we did wire

bending workshops and just kind
of get all their input into what.

Because it's such an expansive experience
and so open and I wanted it to be this

open ended experience underneath it could
be used for anything you know I talked to

a number of people about how they would
use the space if it was built so.

Yeah you know that's that's what
it was intended for originally.

So that was probably the largest one.

But like this one got realized recently

there's a series of three
years there in Denver.

Stemming from the fish belly scratch
act and how people are using and

posing So this is called on display and

there's different forms
superimposed with it and then.

This is getting Belfour.

Campus in Palo Alto this is in.

Hillsboro Oregon and
this again it's in North Carolina.

Charlotte So this is for.

A police call center so
I want it to be about communication so

it's kind of these two it's a kind of
like this by conical form was that speaks

about communication because speed of
communication is so important to them so

how fast they can pick up the phone and
dispatch of so so it's so

it's all of these these readings
of you can kind of see.

Information going in and out and
kind of crossing here at this building

it's large enough or
you can walk through that center point.

Well that's a good question I
think I've been asked have it for.

I don't consider myself like a light
artist you know where I have no

form forms are really important to me
that it has that it has that volume and

merits that it has a presence
you know I wouldn't be

interested in just working with a light
which I know a lot artist will do that.

So so so I think I think just
giving it nuff volume you know

these are massive seeings so
they take up a lot of space.

And then adding that level
of detail up close so so

example this cut pattern
that's going to be in here.

This is a placeholder but they'll
actually be you know information and

things as you get up into it it's like
telling a more of a story so that

can all happen to engage or in the day
then there's the physical interaction so

you can walk through the middle so so
just trying to combine a lot of things so

that there isn't just one time experience.

Yeah.

So and you know if you if you start to
get into kind of these intricate cut

patterns the the sun does
a lot with shadows so

I work with shallow a lot as
like my day version of light you

know.

Ray.

Yes.

So a lot of times I'll just I won't.

I won't use paint or anything on
the surface so I like what like does to

just steel you know stainless
steel because it turns

it whatever color the light it you know if
you paint it you're kind of stuck with.

And colors that night but if you leave
it it just becomes a mirror that will

reflect any color and
same with the white acrylic so

it becomes any color you want it to be and
I don't mind the subtlety of of not much

color during the day you know especially
when it's a contrast to it the night

experience.

Sure.

Well like I could have used
this one as an example so

this has a budget of
four hundred thousand.

And.

You know probably thirty percent
of that goes to materials.

And another twenty to infrastructure
site preparation under

the ground things you don't even see
electrical connections that everything.

Shifting and sure and you know there's
a pretty you break down the budget so

where me personally if I can make
twenty percent and I'm happy you know

which is a good amount of money I mean if
you can manage ten of these at once you're

making you know you don't even have
to manage to make a living but.

You know there are long term C.F.
to think about you know how to manage

a successful income because
no one's getting the work for

you have to get all your own work you have
to you have to be very comfortable being

rejected because you get rejected
a lot more than you get projects and

it's very competitive.

So all of these things lead to a kind
of me working from myself successfully.

I'm very ambitious I'm very driven
I am extremely hard worker and

I'm almost obsessed about what I do so
you combine that in a space where

I'm looking out the window at the Puget
Sound and with no interruptions and

I get a lot of a lot.

But yeah that's the general kind

of.

Typically I get paid for design so

that's one thing I like about hitting in
the public are because private art or

you know fine arts you have to.

Produce all your work and
then try to sell it this when I get hired

based on my portfolio of past project and
I start killing paid and

I and I start coming up with ideas and.

So it's much more secure.

Right and there's calls like that you can
you can apply to all sorts of calls for.

Some require before someone you're
short listed some don't require it at

all until they've selected you.

Here and Mr PENA that I wouldn't apply
a think for unless I was shortlisted

because they'll give you an honorarium
to at least come in with a quick

idea.

Well this this is more
secure than then and

probably because.

I think there's a recognition that
artists don't have like a lot of.

Cushion you know the way if you're working
an architecture firm you when you lose

weight or you're still just working so so
I think this this is set up in a way that

allows artists to get in more
easily like they don't have to.

Expend money at the beginning
at all which allows you to keep

you know a profession where I don't have
employees I don't have you don't have to

have all that stuff I can still
just maintain kind of artist.

Title and not have to go.

You know get this whole infrastructure set
up where people are now you know working

in the office and doing things which would
kind of change the profession a bit but

we are baby I think a bit because we get
paid before we even come up with an idea

great I'm OK with

that.

Right I.

Usually like the strict warranty you know
because the city ones are boning it once I

once I kind of clear my contract so
they're gated to maintain it.

If something goes wrong in the first
couple of years they kind of all comes

back to me but beyond that that's
just routine maintenance and

they're expecting you know a minimum
twenty year kind of lifespan.

But they'll expect you know
some maintenance throughout and

then something like this you know that
could last five hundred years I mean it's

just not going to go anywhere but
you know to keep it to a certain level of

care it's probably twenty years or so and

there's no i'm just liable for for like.

Yes like like something was
actually designed wrong about it

not how it's weathering or some.

So.

So my.

It's something like that sometimes
I'll ask for a little more.