"Hazards of Modern Living," Sidewall Project, Pittsburgh, PA, 2015.
A large mural in the form of a yellow-on-black, industrial warning sign.
"SORRY," Switchbox Project, Davis Square, Somerville, MA 2015.
An apology in advance for everything to everyone.
"SORRY," Appearances Festival, Provincetown, MA, 2015.
Cast in ice and embedded in the ground, this sculpture offered condolences for a harsh winter as it slowly dissolved.
"SORRY," Toronto, Vancouver, throughout Canada, 2014.
On view on TV monitors in the subway systems in Toronto and Vancouver, and throughout Canada in malls, offices and elevators, "SORRY" consists of photos with poems in which an anti-hero apologizes for almost everything.
"YOU ARE HERE," Appearances, Provincetown, MA, 2014.
Made of mud, straw, birdseed and sand, these map icons were installed throughout the town, encouraging viewers to be present in a mindful way.
"Sleep Cycle," Boston, MA, Energy Necklace, 2014.
On sculptural cement pillows, haiku-like text questions the nature of solitude and identity.
"Hazards of Modern Living," Davis Square, Somerville, MA 2013.
A yellow caution sign that comments on the dangers of surveillance.
"Phone Fossil," Davis Square, Somerville, MA, 2013.
This sand-cast plaster phone in abandoned phone box, like an archeological specimen in a museum, raises questions about the speed of technological advancement.
"In the Field," Billboard Art Project, Chicago, IL, 2011.
Large-scale photo displayed on digital billboard for one week beside the Dan Ryan Expressway.
"Hazards of Modern Living," Boston Harbor Shipyard, Boston, MA, ongoing.
Large aluminum signs, in the format of yellow caution signs, which comment on the culture of fear in the post-9/11 era, and which range from the absurd to the chilling.
"OceanSky Ladder," Boynton, FL, 20100-2011.
A site-specific installation, this photo-sculpture recreates the vibrant color scale of the Florida Coast—from gritty beach to azure sky—in glossy photo panels framed by an aluminum ladder.
"TALK/WALK/LISTEN," public interventions in museums and city
spaces, ongoing. Click here to see images.
Comprised of 4x4" trompe l'oel aluminum plates, "TALK" encourages (demands?) that passersby engage in conversation, listen politely, and walk briskly when required.
"Currents," North Station, Boston, MA, 2005.
Commissioned by the Massachusetts Bay Transit Authority, Currents is a series of 120 photo-panels showing harbor scenes, printed in sepia on aluminum, which animate like a filmstrip when viewed from a passing train.
"Square2," Davis Square, Somerville, MA, 2001.
Commissioned by the Visible Republic program of the New England Foundation for the Arts, this project saturated Davis Square for one month with thousands of photographs of its own pedestrians, on every level from micro to macro: from bus benches to manhole covers.
"What Is the Point?," Harbor Point, sponsored by UMass Boston, Boston,
MA, 2005. 100 signs erected in clusters throughout the Point, featuring visuals and poems by Point residents, created in community workshops led by Cathy McLaurin (visuals) and Gary Duehr (poetry).
ARTS FIRST, Harvard University, Cambridge, MA, 2005-2010 (artist-in-residence). For a yearly festival of the arts in May, this course in public art culminates in a student-created installation/performance in Harvard Yard.
Community-Based Installation/Performance by the Invisible Cities Group (co-director)
"Things I Never Told U," Somerville, MA 2003.
A piece of music theater set in a neighborhood, in collaboration with Rick Berlin and his band, adapted from stories by Bernard Malamud. Created by Invisible Cities Group (ICG).
Impossible Library, Forest Hills Cemetery, Jamaica Plain, MA, 2001.
Created by ICG, this project combining installation and performance was set at Jamaica Plains' Forest Hills Cemtery, a lush garden cemetery founded in 1848.
"Notes for the Next Life," Somerville, MA, 1999.
Part nature walk and part site-specific installation, this event by ICG invited spectators to navigate a little-known terrain: the Mystic River Reservation on the Somerville line.
"Watching the Detectives," University of Washington, Pullman, WA, 1998.
Armed with a map and a set of clues, the audience met at a Dunkin' Donuts, then fanned out over a neighborhood. They visited a host of neighborhood characters and observed installations woven into yards and driveways. Created by ICG.
"Dream House," Somerville, MA, 1996.
An interactive performance/installation that took place in an entire house and yard, Dream House by ICG was an evocative look at childhood.
"Ghost Factory," Somerville, MA, 1995.
Along the path of an abandoned railway line near Davis Square, the audience took a journey into the past through installations of sound, dance and photography. Created by ICG.
"Invisible Cities," Somerville, MA, 1994.
Spread out over eight square blocks of Somerville, the performance by ICG combined theatrical vignettes with installations of visual art.