Humpback Whale, Wildebeest, Bar-Headed Geese, 2026, Watercolor on Yupo, 6.5 × 5.5 inches each
Paintings of migrations created for Nostos: Poetry, Fiction, and Art, Issue 10: Homecoming.
News

Hawaii House Tattoo, a large wall mural by Lorna Stevens composed of horizontal bands of dark blue geometric patterns inspired by traditional Hawaiian tattoo and kapa designs.

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

Magnolia Path, an artwork by Lorna Stevens made with fallen magnolia petals and leaves from the San Francisco Botanical Garden embedded in resin, bearing traces of people, strollers, bicycles, and wheelbarrows that passed over them.

Magnolia Path, San Francisco Botanical Garden, 2025, Magnolia petals, resin,
12 x 10 x .75 inches

Migration, an artwork by Lorna Stevens in which a herd of animals forms a human face, surrounded and trapped by asphalt that interrupts their migratory paths.

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

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

Birdshot, an artwork by Lorna Stevens with frantic passenger pigeons carved into salvaged wood covered with sumi-ink-tinted target paper.

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

Colony Collapse/Forest Regeneration, from the Scrapbook of Endangered and Extinct Birds, a mixed-media artwork by Lorna Stevens exploring how passenger pigeons promoted woodland biodiversity and forest regeneration.

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
News - 1
News - 2

Homage to Martha, the Last Passenger Pigeon, an artwork by Lorna Stevens, 2020. Oil pastel and pencil on target paper depicting a passenger pigeon over concentric target rings, referencing Martha, the last known passenger pigeon.

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 Endangered and Extinct Birds, a double-page entry filled with dense black-and-white marks evoking flocks of passenger pigeons, with an insert honoring Martha, the last passenger pigeon.

Passenger Pigeon Tempest from the Scrapbook of the Endangered and Extinct Birds
2020, Paint on paper, 14 x 23 × 1.5 inches
News

Winter Winds, a small ceramic wall sculpture by Lorna Stevens finished with silver nitrate and lacquer.

Winter Winds, 2020, Ceramic, silver nitrate, lacquer,
7 x 6 x 1 inches
News

Bed of Roses, 2020, ceramic and silver nitrate,
12.5 x 11 x 2 inches
News

Bound, 2019, mirrored ceramic, 7 × 5.5 × 5.5 inches

Paradise Drive, 2019, Watercolor, ink, Saunders Waterford paper, book board, book cloth, thread
9 x 8.5 x 1 inches

News
News - 2

Cross Purposes, a monoprint diptych on rice paper by Lorna Stevens exploring the parent-child relationship, created for the literary journal Nostos.

Cross Purposes, 2018, Monoprint on rice paper,
13 x 11 inches (each)
Created for the literary journal Nostos, Volume 2, Number 2.
News

Growth Chart, Younger and Older, an artwork by Lorna Stevens showing two stages of life with layered fields of color, names, and dates recalling height notations marked on a wall.

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).

Transit, Terrain, Mapping, a series of watercolor paintings by Lorna Stevens derived from aerial views of the United States-Mexico border, created for the literary journal Nostos.

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)
News - 1
News - 2

Repair, an artwork by Lorna Stevens made from a broken ostrich egg mended with lacquer and sand using the Japanese tradition of kintsugi, which honors breakage and repair as part of an object’s history.

Repair, 2016, Ostrich egg, lacquer, sand, 6.5 x 5 inches
News

Protect, an interactive artwork by Lorna Stevens featuring an ostrich egg surrounded by a ball of woven wire that viewers can move.

Protect, 2016, Ostrich egg, wire, 36 x 36 inches
News

Huia: A Story of Extinction (Deforestation), an installation with bird forms made from native branches, salvaged lumber, an historic forest photograph, and audio of the extinct huia’s call.

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
News - 1
News - 2

Clay Pigeon Passenger Pigeons, an artwork by Lorna Stevens featuring bird-like forms assembled from salvaged clay pigeon shards collected at a shooting range.

Clay Pigeon Passenger Pigeons, 2016,
Salvaged clay pigeons, glue, 3 x 6 inches (dimensions variable)
News

An award plaque-shaped artwork by Lorna Stevens made with U.S. currency, a worn shoe sole, and shoelace, honoring those who provide emotional and financial support to others.

Provider, 2015, US currency, shoe sole, 10 x 7.75 x .75 inches
News

Globe, Flattened, from the Globes series by Lorna Stevens, a salvaged metal globe flattened and altered to reflect environmental concerns.

Globe, flattened, 2014, Salvaged metal globe,
20 x 8 x .25 inches
News

Herd, a small wall-mounted artwork by Lorna Stevens composed of charred wood forms suggesting a densely gathered herd of animals.

Herd, 2014, Charred wood, 10 x 8 x 1.5 inches
News - 1
News - 2

Herd (paper), an artwork by Lorna Stevens featuring rubbings of migratory animals moving across pattern paper.

Herd (paper), 2013, Pattern paper with rubbing,
18 x 16 x 1 inches

Snow Goddess, 2014,
Ceramic, 8 x 4 x 4 inches
News

One Threshold, Two Yields, 2012, Salvaged threshold, paint,
20 × 10 × 1 inches
News

A salvaged wooden broomstick is progressively altered into a printing tool, accompanied by a large newsprint book that records the process of transformation through prints made with the tool as it is made.

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
News

Brink, an artwork by Lorna Stevens made from a salvaged threshold shaped into a mountain range, suggesting human encroachment into the natural world.

Brink, 2012, salvaged threshold, 9 x 17 x 2.5 inches
News

Hunt, an artwork by Lorna Stevens made from a knotted wildebeest mane pinned into the shape of an award plaque, comments on the sport of big-game hunting.

Hunt, 2011, Wildebeest mane, pins, 14 x 14 x 5.5 inches

Untitled (Atlas Globe), an artwork by Lorna Stevens made from an Encyclopedia Britannica Atlas altered and shaped into a three-dimensional globe.

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

Herd, an ink drawing on paper by Lorna Stevens depicting a densely gathered herd of migratory animals.

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

God, Seed: Poetry and Art about the Natural World, a book collaboration between Lorna Stevens and poet Rebecca Foust, pairing poetry and art inspired by the natural world.

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, an artwork by Lorna Stevens pairing a Raku-fired ceramic foot with an embroidered shoe created for a person with bound feet.

Bound to Please #34, 2008, Raku fired ceramic and embroidered fabric, 4 x 4 x 2.25 inches each
News

Herd (gut), an artwork by Lorna Stevens featuring a herd of animal forms made from wishbones wrapped in gut and supported by pins.

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

Tread, an artwork by Lorna Stevens made from a salvaged metal toy bank with a tire-tread pattern cut around its equator.

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

Waste, an artwork by Lorna Stevens made from a salvaged metal trashcan decorated with a world map, with a human face cut from its surface.

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

Huia, 2006, Altered book 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
News

Untitled (Framed Face), 2005, Salvaged wood and metal,
13 × 10.5 × 2.5 inches

Huia Feather, a graphite drawing by Lorna Stevens depicting the distinctive tail feather of the extinct huia bird.

Huia Feather, 2005, Graphite on paper, 10 x 8 inches

Trophy, from the Bound to Please series by Lorna Stevens, a sand-cast glass artwork with brass plaque and wire addressing the custom of foot binding.

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

Bound to Please #23, an artwork by Lorna Stevens featuring two Raku-fired ceramic depictions of bound feet.

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

Three works from the Bound to Please series by Lorna Stevens depicting bound feet in Raku-fired, iron-washed, and wood-fired ceramic.

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, an installation by Lorna Stevens combining a book, sound recording, chairs, painted elements, stone, and sticks to tell the story of the extinct huia bird.

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

Passage, a collaborative installation by Lorna Stevens and Meadowsweet Dairy made from wood, steel, stones, a skull and bones, forming an architectural passageway.

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

2000, an artwork by Lorna Stevens made from a salvaged globe with the outline of a human head cut from its surface, created to honor the new millennium.

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

Cross Purposes, an artwork by Lorna Stevens featuring a glass house etched with the words “Mom was angry, Ben was sorry; Mom was sorry, Ben was sad,” exploring the parent-child relationship.

Cross Purposes, 2000, Glass and wood, 9 x 7.5 x 4 inches

Huia, an artwork by Lorna Stevens depicting female and male huia birds as sculptural forms made from charred sticks and wire.

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

Suspended Animation (Second Version), a large-scale rotating sailcloth sculpture by Lorna Stevens suspended by cables over river rocks in the di Rosa sculpture meadow.

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
News

Free Lunch, A collaboration with Meadowsweet Dairy, 1998, Salvaged metal and wood, plastic bottle bird feeders and native plants, 10 x 7 x 7 feet

Humor Rag, an installation by Lorna Stevens featuring a newsstand holding a 40-page collection of jokes and witticisms, accompanied by grass, wood, and a bench.

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

Overload, an installation by Lorna Stevens featuring two globe beach balls flanking an arc of cages containing objects and images representing human activities that burden the environment.

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

Large Scale Work