Hawaii House Tattoo
2025
House paint on wall
10 by 23 feet

Inspired by traditional Hawaiian tattoos, the crosshatch and triangle patterns symbolize family unity and reference kapa, the bark cloth of Hawaii. The geometric swirls represent waves, while the vertical slats depict a fishing system that uses bait and stone walls to trap fish in an inescapable maze.

Magnolia Path
2025
Magnolia petals, resin
12 x 10 x .75 inches

Magnolia Path captures the interaction between fallen magnolia petals at the San Francisco Botanical Garden and the people, strollers, bikes, and wheelbarrows that pass through to admire the extraordinary blooms.

Rock Printing (Ahihi Cove), 2024, Graphite on paper, 28 x 36 inches

Migration, 2024, Wood and asphalt, 13 x 9.5 x 1.3 inches

Covid, 2022, Cast paper, ceramic, shim, spray paint 16 x 10 x 2 inches

Birdshot
2021
Sumi tinted target paper, carved wood
21 x 18 inches

Colony Collapse/Forest Regeneration or How the passenger pigeon promoted woodland biodiversity

From the Scrapbook of Endangered and Extinct Birds 
2015-present
Mixed media on salvaged scrapbook
14 x 23 x 1.5 inches

To be exhibited in Reclamation: Artists Books on the Environment
June 4 - September 26, 2021 at SF Center for the Book
June 19 - September 5, 2021 at San Francisco Public Library

Homage to Martha, the last passenger pigeon
2020
Oil pastel and pencil on target paper
9.5 x 6 inches

“Passenger Pigeon Tempest” from the Scrapbook of the Endangered and Extinct Birds

2020, Paint on paper, 14 x 23 inches

Inspired by Aldo Leopold's quote, “The pigeon was a biological storm…Yearly the feathered tempest roared up, down and across the continent, sucking up the laden fruits of forest and prairie, burning them in a traveling blast of life.

Extinct since 1914.

Winter Winds, 2020, Ceramic, silver nitrate, lacquer, 7 x 6 x 1 inches
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Bed of Roses, 2020, ceramic and silver nitrate, 12.5 x 11 x 2 inches
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Paradise Drive, 2019, Artist book, 9 x 8.5 x 1 inches
In Paradise Drive, fourteen sonnets by Rebecca Foust are paired with watercolor paintings created from fourteen brushstrokes. The book is based on the fourteen line structure of the traditional sonnet.
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Untitled, 2019, Mirrored ceramic, 7 x 5.5 x .75 inches

Cross Purposes, 2018, Monoprint on rice paper, 13 x 11 inches (each)
Created for the literary journal Nostos, Volume 2, Number 2.
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Growth Chart, Younger and Older, 2018, Ink with digital overlay, 8 x 10 inches (each)
Created for the literary journal Nostos, (Volume 2, Number 2).
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Transit, Terrain, Mapping, 2017, Watercolor on paper, 9 x 8 inches each
Watercolor paintings derived from aerial views of the United States-Mexican border created for the literary journal Nostos (Volume 1, Number 1)
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Repair, 2016, Ostrich egg, lacquer, sand, 6.5 x 5 inches
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Protect, 2016, Ostrich egg, wire, 36 x 36 inches
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Huia: A Story of Extinction (Deforestation), 2016-2020, Salvaged lumber, native branches, photograph (James Bragge, Bush Scene, circa 1875, reproduction from black and white collodion glass negative, Museum of New Zealand Te Papa Tongarewa), audio from the New Zealand Broadcasting Corporation’s 1954 recoding of Maori tracker Henare Hamana’s whistled huia call, 7 x 3 x 3 feet
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Clay Pigeon Passenger Pigeons, 2016, Salvaged clay pigeons, glue, 3 x 6 inches (dimensions variable)
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Provider, 2015, US currency, shoe sole, 10 x 7.75 x .75 inches
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Globe, flattened, 2014, Salvaged metal globe, 20 x 8 x .25 inches
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Herd, 2014, Charred wood, 10 x 8 x 1.5 inches
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Herd (paper), 2013, Pattern paper with rubbing, 18 x 16 x 1 inches

The Broomstick Story, 2012, Object: Salvaged wooden broomstick, dowels, glue, 15.25 x 2 x 2 inches; Book: Newsprint, ink, cardboard, string, 24 x 18 x 3/16 inches
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Brink, 2012, salvaged threshold, 9 x 17 x 2.5 inches
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Hunt, 2011, Wildebeest mane, pins, 14 x 14 x 5.5 inches

Untitled (Atlas Globe), 2011, Altered book from Encyclopedia Britannica Atlas, 12 x 10 inches

Herd, 2010, Ink on paper, 2010, 30 x 22.5 inches

God, Seed: Poetry and Art about the Natural World, A collaboration with poet Rebecca Foust, 2010, 104 pages, 7.5 x 9 x .4 inches, published by Tebot Bach

Bound to Please #34, 2008, Raku fired ceramic and embroidered fabric, 4 x 4 x 2.25 inches each
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Untitled (framed face), 2007, Salvaged frame and globe, 10.5 x 13 x 2.5 inches

Herd (gut), 2007, Wishbones, gut, pins, paint, 18 x 13 x 1.5 inches

Tread, 2007, Salvaged metal bank , 4.75 x 4.5 x 4.5 inches

Waste, 2007, Salvaged metal, 13 x 11 x 7.25 inches

Huia, 2006, Altered book, 9.25 x 6.25 x .75 inches

With drawings by Andree Singer Thompson and Henry Corning and compact disc “Homage to the Huia,” an original sound recording by composer David Hindley. Edition of 20. 9.25 x 6.25 x .75 inches
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Huia Feather, 2005, Graphite on paper, 10 x 8 inches

Trophy, 2005, Sand cast glass with brass plaque and wire, 8 x 6.5 x 1.5 inches

Bound to Please #23, 2005, Ceramic, 3 x 4.5 x 2.5 inches (each)

From Left:
Bound to Please #1, 2000, Raku fired ceramic, 4 x 4.5 x 2 inches
Bound to Please #5, 2000, Ceramic with iron wash, 3.5 x 4.5 x 2 inches
Bound to Please #2, 2000, Wood fired ceramic, 1.75 x 3.75 x 1.75 inches

Huia: A Story of Extinction, 2001, Installation with book, sound recording, chairs, paint, stone, sticks, 8 x 20 x 16 feet

Passage, A collaboration with Meadowsweet Dairy, 2000, Wood, steel, hardware, stones, skull and bones, 10 x 7 x 4 feet

2000, 1999, Salvaged globe, copper, stone, 10 x 7 x 4 inches

Huia, Charred sticks and wire, 1999, 12 x 12 x 12 inches

Suspended Animation (Second Version), 1999, Sailcloth, hardware, cable, graphite rods and river rocks, 20 x 20 x 6 feet. Installed in the di Rosa sculpture meadow from May to December, annually

The Humor Rag, 1997, Paper, news stand, bench, wood and grass, 4 x 8 x 4 feet

Overload, 1996, Mixed media, 7 x 7 x 3 feet

Large Scale Work