2026-2027 Polar STEAM Antarctic Artists & Writers Program Application | Question 4 Supplemental Material

This thread in my body of work starts at Mount St. Helens with photographs of the crater that are glazed, manipulated, and collaged to reflect the natural processes they depict or the associations they evoke.

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Subsequent work continued to enhance the surfaces and scale of landforms to evoke their sense of presence in the public spaces where they were installed.

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The intention to depict dimension and conjure the experience of a place was achieved through animating point clouds of landscapes in the following projects:

Lost in Deep Time, a meditation on deep time terrains and the emergence of the field of geology, blended the narrative with two-channel video and contemporary classical music for an exhibition about synesthesia and a live concert performance.

Expanding the storytelling dimension in my work, He Who Saw the Deep explored the origins and development of J Harlen Bretz’s cataclysmic flood theory through a tour of the enigmatic floodscapes that inspired him.

In Terra Cascadia the dramatic landscapes of the Columbia Gorge are brought to life on two LED walls flanking each side of Portland International Airport’s new Terminal Core. The north wall depicts features on the Washington side of the Columbia and the south wall displays scenes from Oregon.

In collaboration with the biologist Merlin Sheldrake, these studies visualize a mycorrhizal fungal network through various effects applied by my virtual cinematography tools on the scanning data he and his team supplied.

Terra Montane explores some of the earth’s most dynamic terrains where geology, ice, and altitude collaborate to ceaselessly sculpt new landscapes.