Atlanta BeltLine: August 2013 - November 2014

A temporary project commissioned by Atlanta Celebrates Photography with additional support from Art on the BeltLine. In August, Five inwardly facing billboards with façades ranging in size from 12’ x 20’ to 4’ x 8’, were constructed along and bisected by an unpaved section of the Atlanta BeltLine, an urban pedestrian corridor that forms a 22-mile loop currently under construction in the city. Spanning a grove of trees, a ravine and a grassy knoll, the encircling facades formed an incongruent yet contemplative and engaging space for pedestrians, runners and cyclists to unexpectedly encounter an odd cluster of billboards and perhaps consider their ramifications.

Apparitions: Look Away (above) 

Apparitions: Transparencies - a single billboard over a 5 month period (3 images below left)



Three sets of images were installed over the course of a year. Each phase addressed a different issue regarding billboards. Phase1, entitled Apparitions: Interstate 50, featured images of from my ongoing photographic series of blank billboards. My intent was to fuel dialogue regarding the portent of advertising along this new public pathway. 

Apparitions: Transparencies (phase 2), featured photographs of the installation site that appeared immediately behind the billboards taken before the facades were constructed.  A sweet-spot allowed audiences to align the façade image with the view of the landscape. This phase explored the relationship of the billboard as an object to its site by both obscuring and contrasting with its surroundings depending on the time of day and season as well as the viewers vantage point.

In March 2014, new images for phase 3, entitled Apparitions: Look Away, were installed over the previous images.  Referencing the sesquicentennial of the battle, siege, occupation and ultimately destruction of Atlanta with 5 tightly cropped photographs of General William Sherman’s eyes, these images addressed the psychological aspect of billboards (They also referenced the symbolism of the Dr. T. J. Eckleburg billboard in The Great Gatsby.) The intent was to encourage audiences to reflect on what has transpired in the city since Sherman’s visit 150 years ago. The configuration of the encircling billboards could be also construed as an inverted version of the Cyclorama (Atlanta’s massive round painting depicting the city’s Civil War battle), but featuring Sherman's eyes rather than the battle the general witnessed near the project site. The billboards along with Sherman’s eyes will be de-installed on November 15, 2014, the 150th anniversary of Sherman's departure from the destroyed city and the beginning of his March to the Sea.




Jacksonville International Airport

The entryways to a pair of restrooms in the new Concourse C were commissioned by the airport and completed in 2008.  The one-foot tiles feature 68 unique pictograms.

The public was introduced to the now ubiquitous pictograms of men and women in 1974 as a means of efficient standardized restroom signage. For years I have made wax-oil rubbings or taken photographs of these pictograms. Through my travels, I have documented a wide range of imagery of gendered figures.  Even the most standard pictograms vary in their width, cut of the arms, broadness of the shoulders, and distance or connectivity of the head to the body.  At facilities that employ a greater sense of design, highly stylized pictograms reflect a much greater range in variations of body types, shapes, proportions, and activities. When the images of the respective figures are shown collectively, their typological differences become apparent, even amusing.  The pictograms used as a source for this installation come from Brazil, Canada, the Czech Republic, France, Israel, Lebanon, Mexico, South Africa, Spain, Syria, and the United States. 

Entrance to the Women's Restroom

Detail of the Men's Restroom Fin-wall

Latitudes and Legends

Atlanta Hartsfield-Jackson International Airport

Along the perimeter walls of a 20,000 square-foot space in the north end of the International Concourse (Gates E-33 - E-36), a series of ceramic sculptures encompass the world. Literally. Comprised of three distinct components, one of the installations reduces a view of the world while another enlarges tiny details found on various maps.

Lattitudes (detail)


Latitudes (above and left), an 86-foot-long ceramic tile installation, forms a narrow map of the world between the 30th and 35th parallels, roughly Georgia's north and south borders. Representing approximately 330 miles (north to south) and 22,000 miles (east to west), Atlanta appears twice, at either end of the map. Libya, Iran, Nepal, South Korea, and Mexico are some of the 27 countries found in between.


Lattitudinal Cities


Adjacent to Latitudes is a collection of ceramic tablets depicting 18 major cities located along the same narrow band of the world. Entitled Latitudinal Cities the heavily textured maps include such urban centers as Jerusalem, Baghdad, Kabul, Shanghai, Kyoto, and Los Angeles.

Lattitudinal City: Mokpo, South Korea

Legends: Commerical Airport Symbol


Located across the concourse, Legends is comprised of 64 sculptures derived from map symbols. Referencing national maps (India, Syria, China, United States, etc.) of various uses (aeronautical charts, ordinance surveys, etc), an assortment of symbols were extracted, enlarged, embellished and rendered three-dimensionally. By removing the symbols from their context, my intent was to shift the shapes from miniature, benign marks to totems and icons with ambiguous meanings. The symbols represent a range of natural and manmade structures found on maps including different types of roads, water features, aerial obstructions, and places of worship.

Birmingham Barns

Fulton County Fire Station # 18, Alpharetta, Georgia

Three miniature barn-like structures with open steel frames with ceramic tile roofs that include photo-based imagery and text relating to the history of the rural site. 

Birmingham Barns

Birmingham Barn (detail)