This was an exciting collaboration with my friend, Miguel Horn. As part of our residency at the 2014 Vancouver Biennale, we created a fabricated sculpture and projected animation.

As part of Animated Architecture run by the illustrious Sean Stoops, I worked with musician and composer Gene Coleman. We made a 12-minute, animated projection set to a live ensemble called Vector Equilibria. 

Following Hurricane Sandy, there has been a lot of focus on storm resiliency. I entered a competition with some friends to help make our coastal cities more resilient.

Vector Equilibria was inspired by Buckminster Fuller and his 'Everything I Know' lecture series. It reinterpreted the history of spaceship earth in three short chapters (Watch all of them here: 1 2 3). You're looking at the "FUTURE".

In a strange collision, my printmaking background and new-found parametric modeling and fabrication skills helped me to draw in a whole new way - with lasers. 

As part of the first muraLAB residency with Mural Arts, The Science Center and NextFab, I created a proposal to regenerate an abandoned corner of South Philly. 

Vector Equilibria was a one-time event, with a live performance of music by Gene Coleman and an animation by yours truly. We worked on the concept together, which is a way I really like to work.

An experiment with GIS and parametric modeling as part of the Ecology of Strangers workshop at the 2013 Venice Architecture Biennale.

A print created for the Salish Sea Lab Kickstarter campaign. A laser woodcut with a blend roll.

A collaborative print created with my better half, Andrea Landau, a 3-channel silkscreen we made for the Second State Press Portfolio Exchange.

One way to remedy storm surges is to create an ecological buffer.

This dune ecology could protect Ocean City from another Sandy, hypothetically.

Did this one years before the Ocean City thing.

Weird, huh?

A gallery version of Vector Equilibria. The context changed the whole feeling of the animation, as did the ambient changing light of another artwork at SUPERLUMINARY.

Just as I was getting into Python programming, I was thinking a lot  about object classes and how they might vary depending on their unique attributes. This was mostly from my head.

Part of a series of drawings and sketches for speculative future cities. This is one of my favorites.

It's easy to forget about materiality when you are working with digital processes. Removing wood through more traditional means from a laser woodcut opened up new possibilities.