Community engaged sculpture at Socrates Sculpture Park, Long Island City, NY. 2020-2021 OFFSHORE is a ‘future monument’ to prison abolition. Pennants flying from the fence are printed with messages contributed by local people with experiences of incarceration. Offshore is cantilevered over the East River, the cage

ICE-Escape Signs

An ongoing series based on fire-escape signs, and sited like the real signs, using site-specific floor-plans of buildings. 2006 - present. Front-engraved plastic, or face-mounted inkjet prints. This long-term project evolves as more venues commission their own customised ICE-Escape signs. The signs, developed through conversations with

Lookout Landing

Permanent installation at Griffiss International Sculpture Garden, Rome, NY. 2009 10' x 50' x 14' Cedar, stainless steel, galvanized steel, railroad ties, solar-powered runway approach lights, concrete, landscaping. An Air Force landing strip is visible from the deck. The structure’s lights blink at night. Thanks to Sydney Waller

Design for the Alien Within: The No-Place

aka the ATTIC ACCESS HIDING UNIT Permanent installation. Wood, Plywood, Aluminum bar grating, wood, steel pipe, hoist. 5ft x 2ft x 5ft 2010 Interactive Site Specific installation for the BRIC Rotunda Gallery, Brooklyn, NY. This installation is a fictitious Hiding Unit occupying a vacant space between ceiling

Host – Emergency Sleeping Systems for Undocumented Guests

Interactive installation with sound, for the Soap Factory, Minneapolis MN, 2007 Plywood, wood, ropes, high strength vinyl, counterweight, audio of Barbara Kremer describing how she sheltered 24 people from the Immigration raids at the meat packing factory in Worthington MN in Dec. 2006, in her home. Thanks to

In Situ Sanctuary 1st Iteration: Beam and Column

Architectural hiding place designed for Exit Art Gallery. 2003 Interactive installation; plywood, steel, surveillance cameras, monitors, paper. Installation view; person inside structure. 2’ x 16’ x 13’ The installation is designed to match the architecture of the gallery. Visitors climb up inside the fake column into