Biomimetic Installation Work and Concept Design

Our daily lives have us moving from space to space. Whether we’re going from home to work, school to cafe, church to gym, we are on the move. 

We are missing places of rest. True radical rest. 

I want to create spaces of large installation works where we can explore our minds, creativity and wholeness. We need space to reset, unravel thoughts, ground our emotional selves, evaporate the movement of our lives and distill ourselves down to a present moment that is intimately ours. Using the soft stimulation of nature with the creative connectivity of somatic experience, we create outdoor installations using biomimetic thinking. To ultimately bridge the divide between the built environment and the natural world, we seek our solutions from biology itself. 

We must create spaces in balance with the environment that invite - even instigate - reciprocity.

The study of biomimicry is learning a new paradigm of thinking. Conditioned and conventional problem solving involves a direct approach to solve a single problem, specifically. Linear. 

Biomimetic thinking calls, first, to our innate sense of curiosity. Upon satiating, studying and intuitively exploring our curiosity, we imagine solutions that are comprehensive, integral, of ourselves and our environment. 

Biomimetic concept design uses holistic solutions derived from the felt sense of our embodiment, mimicking biological stimulations and using site specific geology, history, ecology and wildlife to serve as the teacher of our new space.

Larger than Life Graphite Works

The 93/7 Rule suggests 93% of communication occurs through nonverbal behavior & tone; only 7% of communication takes place through the use of words.

Our bodies hold language in a gestural form. Our bodies communicate the language of our bones, our blood, and our earthy wisdom through movement and the forms our bodies become.

Such rich desires are met, are harmed, are tricked by the language of our hands, the contraction of our eyes, and the hold of our spine. To be a living being is to express the language of the body.

As an artist, I am particularly curious about the subtle movements our bodies can take that carry loud impactful language of our body.

Through the emphasis of size, I expose the intricacies, the intimacies and the shadows where light does not go. I hope to create a landscape of wonder and breadth within the curvature of a finger, and the vulnerable exposure of a palm.

Here, upon observation your mind sits back. Your heart yarns no more. Allow the intellect and language of our bodies exist. They’ll know what to say.