Objects These are completed works seeking venues for exhibition.Installation pieces can be customized to fit available space. Persons of Interest, 2017webpage printout encased in three-pound acrylic block9″ w x 7″ h x 1″ dHow permanent is your permanent record? In this case, the files the Soviet secret police in Prague maintained on my family were released to the public in 1989 and persist online. In this age of digital ephemera, I wanted to give this weightless webpage some heft to make the history it relates more tangible and urgent in this age of near total surveillance where the Gatherers of Data (GoD) know us better than we know ourselves. Custom blocks or prints of your favorite PoD page can be made to order. All the Right Pieces in the Wrong Place, 2017custom jigsaw puzzle mash-up, edition of 1038″ w x 29″ hFirst in a series of mix-and-match assemblages based on personal photos printed as jigsaw puzzles. Because the cuts are always the same, it’s possible to switch out elements in a kind of rudimentary but refreshingly tactile “Photoshop” process. Veil of Memory, 20171,400 35mm photo prints12′ w x 20′ h, site specificSecond iteration of a technique developed for assembling vast numbers of photo prints into a lightweight curtain, in this case fitted to the high ceilings of the historic McAdoo Building in Seattle. A veil both obscures and reveals, and this haphazard collection of personal snapshots offers reminders of a hazily reconstructed past. I’m always looking for opportunities to construct another version of this, either temporary or permanent. Flattened Can Spirals, 2005 – presentHundreds of traffic-flattened cans picked from city streetsVarying dimensions, site specificIt started with one can. Then another. I didn’t know why I was collecting them but at least I was removing litter from the streets. The first spiral was improvised on March 4, 2005. Many more followed–at street festivals, art shows, and parking lots. Always outside, where shifting sunlight plays dynamically over the multifaceted surfaces, dented and shiny, candy colors to catch the consumer eye. The assembly is a performance, a durational art piece lasting several hours. The finished sculpture is fragile and ephemeral, subject to the whims of wind gusts and careless steps of spectators and passersby. In 2008, I nailed 1,200 cans to the asphalt of Sound Transit Capitol Hill station construction site as a semi-permanent installation. Today I have about 2,000 cans and am hoping to install one last spiral permanently. Hit me up!