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

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.

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
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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, 2002, Installation with books, sound recording, chairs, paint, stone, sticks,
8 x 20 x 16 feet

Channeling Giacometti, A Colloboration with Meadowsweet Dairy, 2004, Plexiglass over wood with pampas grass,
7 × 8 × 1.5 feet

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
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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

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

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

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

Sculpture

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