Found mushrooms are cast in bronze and placed on to the structural I-beams. These I-beams are composed to represent trees in the woods.
An old decaying tree that was found in a small wooded area in Chicago, is cast into concrete. The rebar inside can be seen through the area where the tree is broken apart, revealing the materiality of concrete.
Through the mold-making process, concrete is used to cast salmons. These salmons are installed in configuration where they swim up-stream. However, they are faced with an invisible line which they cannot cross. “Concrete Salmon” represent a specific environmental issue, damming of rivers on the West Coast and its impact on wild life, especially salmon migration.
Within the controlled composition, the surreal state of nature is examined through the use of different byproducts of the tree: tree, wood peel, and Sumi- ink, are various resources.
Inverted bleached tree root and Sumi ink stained leaves represent the abstracted view of a sidewalk tree and its given space.
Through the act of recreating nature for its beauty, the juxtaposition of a reed field in constructed landscape is revealed. By creating a plasticized landscape, the “Reed Field” represents our distorted reality of spaces we associate with nature.
The contrast between flowing water and still water is highlighted by three steel boxes placed in a stream. Each box is filled with the flowing water in the stream. The subtle textures of the water surfaces between moving and still water gives context to the cause and effect of our presence in natural order.
Dead trees are cut and are reattached in peculiar angles to create abstracted objects.
Twigs are cut and reattached in a particular angle to create abstracted objects. By placing these objects in a cluster, the geographical deformation of forests is presented.