63” X 28” X 28”

shadows, hydro stone, rusted wire cloth, and baling wire

photo by Nash Baker

Scientists predict that without pollinators, human life can only exist for four years. In 2017, the U.S. Fish and Wildlife Service listed the Rusty Patch Bumble Bee on the endangered species list. PNAS Proceedings of the National Academy of Sciences of the United States report that the herbicide Glyphosate and neonicotinoids are innocuous to bees, however, they target microorganisms that are necessary for the bees’ digestive systems. This exposure weakens their immune systems, making them vulnerable to infection… and in time extinction!

In World of Hum, I am interested in the ways that abstract sculpture can incorporate time and movement, making visual effects similar to those in long exposure photography. I have adapted the blurred movements of a keystone species into a metal sculpture that hangs from the ceiling. This 4D kinetic installation is made of shadows, hydro stone, rusted wire cloth, and baling wire. The piece is physically very light and hangs on a piece of monofilament connected by a swivel from an acrylic hanger. With one light source, the piece casts shadows onto the silo wall. The air movement in the building causes the sculpture to slowly turn, changing the viewer’s perspective. The turning movement causes the 3D abstract shapes of the insects, botanical shapes, and 2D shadows to disappear into each other, making a kinetic representation of time and suggesting extinction as the wild native pollinators disappear into the dark. The sculpture also allows for hope; when we allow the natural rhythms of nature to return to the World of Hum the wild native bees will slowly reappear. Urban landscapes can make a difference and Houston can be a vital bee habitat.

World of Hum is part of Impact a large body of environmentally-focused abstract work. Impact focuses on the unexpected consequences of forcing natural processes into an industrial model and the complex relationships between humans, plants, and animals. The series includes kinetic and shadow sculptures, free-standing sculptures, mono-prints, lenticular prints, needlework, and community programs. I have designed the series to work together in various configurations, depending upon the exhibition or site-specific context.

ADDITIONAL INFORMATION

Why it is important to plant non-hybrid native plants.

Mosquito control and pollinators

Common pesticides and pollinators

How to lessen the impact on pollinators from pesticides.

Honey bees will be fine. It's the other 3,999 species of bees in North America we need to worry about.

Urban Landscapes are important ecosystems

Changing how we landscape our cities and support urban wildlife.

Diversifying our landscape practices is a vital step and will help mitigate extreme weather occurrences.

Kinetic Sculpture

“Recording natural history to the collective memory so that it will no longer be endangered knowledge”

- Mitchell Thomashow

Keystones in the Sky will be a King Kong size video of the movement of my latest 4D kinetic sculpture art installation, World of Hum along with images selected from the 10,000 wild bees photographed by the by USGS with macro lenses. The video will be projected onto urban landscapes. This King Kong size video will allow me to reach audiences I cannot reach in the typical gallery setting. Keystones in the sky will turn unlikely urban spaces into mesmerizing kinetic canvases. It will start the conversation in urban neighborhoods and communities to reimagine urban landscapes as gardens across the 600 square miles that Houston sits on.

Researchers are reporting that urban bee populations are more diverse than in rural areas. In cities such as Chicago, Berlin, Berkley, and Melbourne, native flowers, grasses, fruit, and vegetable gardens planted in parks, neighborhoods, city centers, vacant lots, and street medians support healthy, vibrant wild native bee populations. Wild bees cannot live in industrial agriculture's rural landscapes of mono-crops and chemical inputs.

With this information, it occurred to me that Houston covers 600 square miles of land, with 2.3 million people it is the most significant economic center of the south, and it has a long growing season. As Houston continues to sprawl across Texas, it’s real estate must increasingly become a refuge for native plants and bees. When there is a need, the 2.3 million Houstonians act. Houston can become an essential urban native bee habitat.

20’ X 18’D installation in Sculpture Month Houston, SITE Gallery Houston (historic grain silo), Outta Space exhibition.

shadows, hydro stone, rusted wire cloth, baling wire

photo by Nick Sanford

Scientists predict that without pollinators, human life can only exist for four years. In 2017, the U.S. Fish and Wildlife Service listed the Rusty Patch Bumble Bee on the endangered species list. PNAS Proceedings of the National Academy of Sciences of the United States report that the herbicide Glyphosate and neonicotinoids are innocuous to bees, however, they target microorganisms that are necessary for the bees’ digestive systems. This exposure weakens their immune systems, making them vulnerable to infection… and in time extinction!

In World of Hum, I am interested in the ways that abstract sculpture can incorporate time and movement, making visual effects similar to those in long exposure photography. I have adapted the blurred movements of a keystone species into a metal sculpture that hangs from the ceiling. This 4D kinetic installation is made of shadows, hydro stone, rusted wire cloth, and baling wire. The piece is physically very light and hangs on a piece of monofilament connected by a swivel from an acrylic hanger. With one light source, the piece casts shadows onto the silo wall. The air movement in the building causes the sculpture to slowly turn, changing the viewer’s perspective. The turning movement causes the 3D abstract shapes of the insects, botanical shapes, and 2D shadows to disappear into each other, making a kinetic representation of time and suggesting extinction as the wild native pollinators disappear into the dark. The sculpture also allows for hope; when we allow the natural rhythms of nature to return to the World of Hum the wild native bees will slowly reappear.

World of Hum is part of Impact a large body of environmentally-focused abstract work. Impact focuses on the unexpected consequences of forcing natural processes into an industrial model and the complex relationships between humans, plants, and animals. The series includes kinetic and shadow sculptures, free-standing sculptures, mono-prints, lenticular prints, needlework, and community programs. I have designed the series to work together in various configurations, depending upon the exhibition or site-specific context.

watercolor monotype

30” X 44”

watercolor monotype

30” X 44”

watercolor monotype

30” X 44”

watercolor monotype

30” X 44”

These are the first pieces in a new body of work within my environmental work, Impact. Stay tuned to see how Rumblings progresses.

watercolor monotype

30” X 44”

watercolor monotype

30” X 44”

48” X 28” X 28”

steel, hydro stone, wire cloth, wire mesh, and baling wire

photo by Nash Baker

Portrait of My Cousin was inspired by a long exposure photograph of my cousin, Arkansas Symphony Concert Master Andrew Irvin, that captured time and movement as he played his violin. I applied the same concept of capturing time and movement in photography to abstract sculpture. The piece is physically very light and hangs from a piece of monofilament connected by a swivel from an acrylic hanger. With one light source the piece cast shadows onto the wall. The air movement in the room causes the sculpture to slowly turn changing the viewer’s perspective. The turning movement causes the 3D sculpture and 2D shadows to disappear into each other and reappear at a different perspective. This creates the abstraction of time, movement and sound energy as the Concert Master plays. The gentle movement can be as hypnotic as a beautifully executed sonata. See the video below.

66” X 42” X 60”

steel, hydro stone, plaster, wire mesh, wire cloth, baling wire, and stainless steel lath.

image by Nash Baker

My Harvey body of work would not be complete without paying tribute to the rescue efforts made in rural Texas. The LIVEstock pieces honor those who would not evacuate without tending to the safety of their animals. The LIVEstock pieces honor those who would not evacuate without tending to the safety of their animals, the work includes six 30” X 44” monotypes and one life-size sculpture, Bringing Home the Bacon. The sculpture was inspired by a YouTube video of a Conroe man hoisting Penny, the family pet pig up the stairs of their home.

182'“ X 67’’

image by Nash Baker

When you witness, or experience a horrific event there are images that hold onto you; images that will forever be conjoined to the experience.

Weathering Houston’s hurricane Harvey, I was glued to the TV and Houston’s social media postings. My eyes soaked up videos of contaminated waters creeping in the homes of nearby neighborhoods. I witnessed daring rescues of families as they were evacuated. In amazement, I watched mothers and children pile into garbage trucks, elderly folks in wheel chairs airlifted by helicopters. Through social media calls for help, it became obvious our cities first responders could not get to every home in need. Proudly, I saw brave Texans convert their flat bottom fishing boats, and jacked up pickup trucks into life rafts and search for those who called for help. No Texan would be left behind.

When our street drained, turning off the news and putting my social media in my pocket, I packed up my dry survivor’s guilt and headed down to the George R. Brown convention center to volunteer and treat my pain and my conscience. The Red Cross had turned one-third of the GRB into a families with pets section. Entering the building with dilated pupils I wove my way through the walk ways created by the clusters of cots and kennels occupied by families and their pets. It struck me that even in the midst of a disaster we humans create neighborhoods and small communities, we are pack animals. I headed towards the pop up pet supply store well stocked from donations made by citizens and the volunteer veterinary clinic where I would be helping out. Careful not to disturb the sleeping citizens of the newly formed families with pets city, I was confronted by a single cot. It was freshly dressed in a crisp white sheet accessorized with a fluffy white pillow and tucked in by a cozy, white flannel blanket decorated with tiny Red Cross logos all over. It was isolated from the others waiting for the next victim of Harvey to tuck themselves in and comfort them with safety. With all the rescue images of people trudging through unsanitary water, homes floating in floodwater fresh in my memory bank that cot was shockingly - humanity. Thirty thousand GRB citizens would be relieved to make it their new homestead. It was heart breaking and beautiful all at the same time. I could imagine if I had been rescued that cot would have been a long-awaited relief. I would not have asked the sheet thread count or if the cotton was grown pesticide free. My heart hurt for all those who were grateful to have such a cot. That cot, that crystal clear image of stripped down humanity, is the Harvey image that holds onto me.

Within weeks, I made two watercolor monotype pieces of the cot. One as I saw it and one with a pet waiting for its owner. I was pleased with their crispness and the delicate watery shapes seen when closely inspected. It occurs to me that the cot was so symbolic to me because of the constant looped eyewitness news reporting and abundance of social media posts. I was seeing the same strong images over and over. From my dry den, I too experienced Harvey.

water color monotype

22'“ X 30

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

watercolor monotype

22” X 30”

watercolor monotype

22” X 30”

watercolor monotype

22” X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

22'“ X 30”

water color monotype

30” X 44”

water color monotyoe

30” X 44”

water color monotype

30” X 44”

water color monotype

30” X 44”

water color monotype

30” X 44”

water color monotype

30” X 44”

watercolor monotype

44” X 30”

PNAS Proceedings of the National Academy of Sciences of the United States report that the herbicide Glyphosate and neonicotinoids are innocuous to bees, however, they target microorganisms that are necessary in bees’ digestive systems. This exposure weakens their immune systems, making them vulnerable to infection… and in time extinction!

watercolor monotype

44” X 30”

watercolor monotype

44” X 30”