Spirit in the Air integrate art, technology and science to explore ground level CO2 during the Edinburgh Festival. Where science uses technology to establish matters of fact, artists are working with technology leaders from the Scottish busines community to convene technology and expertise around the public perception of carbon dioxide. CO2 or as the artists prefer to call it the… Read more »
Collins and Goto with Lakshmi and Hefele et al
During the 3R2N: River Dialogues we worked from the premise that human values arise from the sum of lived experience and concept-informed perception. On the experience side, we developed an outreach program and a series of public River Dialogues, in which we took people out on the rivers. It was our hypothesis that the River Dialogues had the potential to reconfigure the aesthetic perception of the rivers.
Reiko Goto, Christine Brill and Noel Hefele
installation at the skinnybuilding and a series of mini events,
The Knotweed Project sought to raise awareness and provoke dialogue about Japanese Knotweed and its impact on the region.
Collins and Goto
Geumgang Biennale, South Korea,
Curator Anke Mellin Asked us to develop and deliver a work for a forest in the hills of South Korea, Goto engaged Dr John Rawlins, entomologist at the Carnegie Museum of Natural History. The work in the forest consisted of hundreds of small flags suspended from over 100 trees in a small valley. The artistic intention was to encourage a landscape experience that linked the life cycle of moths to specific trees in the forest of Kongju.
Collins and Goto
A Proposal: Der WasserWeg – or The Water Way Riesa-Groβenhain.
We respond to what is literally an agri-culture, a culture of the land.
Collins and Goto
Landscape proposal for area around Mount Hor Ha’ har, Negev Desert, Israel
Collins and Goto with Hefele et al
The residencies intended to insert artists into three communities that had been severely affected by the economic downturn and the long-term social impact of the post-industrial economy. To support the artists’ work, the entire 3 Rivers 2nd Nature team reconfigured their roles and their office equipment to provide three public studios for research, outreach and project development.
Bingham, Collins, Goto and Stephen
The Community Dialogues’ intended to create a discourse that would define the form and function of public space on the post-industrial brownfield site known as Nine Mile Run. This was an ongoing series of deep dialogues occurring over three years, with artists working consistently onsite in the Nine Mile Run Valley and in intellectual, experiential and creative dialogue with four or more distinct place-based communities. We specifically deal with issues of art, aesthetics and design in relationship to changes to water, land and public space along a two mile stream corridor.
Reiko Goto and Tim Collins
Natural Realities, Ludwig Forum,
Community Public Art,
Manhattan Beach, CA
Names of the counties and cities were erased on the world map. A part of a collaborative installation The Kelvinator Pact A project for “LATENT AUGUST: The legacy of Hiroshima and Nagasaki”, Fort Mason Center, San Francisco, CA A world map and eraser
for the Asian branch public library in
Anamorphic art relies on the viewer finding the right position for viewing. The core of the library needed to draw the visitor inward, engaging and focusing their energies. The cross-stitched anamorphic image reflected on a stainless steel “mirror cylinder.” The Chinese mythical figure Shoki was known for battling evil spirits.
Habitat/Public Art , Yerba Buena Gardens in San Francisco, CA
Goto with Zaacho Dance Theater
A collaborative work with Johanna Haigood and the Zaccho Dance Theater. The project was developed at Capp St. Project, then presented on tour at The Walker Art Center, Dancing in the Streets in NY, and Jacobs Pillow in Lee, MA,
Collins and Goto
AQUA PURA was developed working closely with Steve Leonard, Water Quality Manager for the San Francisco Water Department. The project is designed to assist Steve in his quest for a new public education program. The works are intended for an audience of young teens to adult. The book is written with an interest in science, engineering and the environment but does not ignore the multicultural experience of spirituality and human appreciation for water. The book is freely distributed by the San Francisco Water Department and is intended as a companion text for visitors to the San Andreas Treatment Facilty and it’s attendant community based interactive artwork.
The project was intended to help support what was left of once prolific tree frog community that had been compromised by aggressive local development. Inside of the timber framed house, the artist crated a small pond with native aquatic plants. The sculpture was designed to house sapling of indigenous trees as well as a habitat for tree frogs in the area.
Asked to construct an undeclared memorial, Collins sought form and function that would suggest the memory of a long lost sibling. A structure that was firm, yet built to contain an ethereal, experiential phenomenon which is more spirit than matter. A heavy but small stone structure with a whitewashed plaster interior holds the shadow form of water dripping into water. Projected on the floor of the building the shadow-drop and its concentric shadow-circles slowly move from the floor of the building up the walls and dissipate into the light that washed the ceiling.
Collins embedded himself with the Port of San Francisco where a set of abandoned pilings would provide form and suggest function for an architectonic structure that would be a visual interface, rather than an approachable building. The actual form of Tidal Well would shift and blend in the changing conditions of water, sky and light over time.
Collins and Thompson
Tidal Well emerged out of dialogues about place, phenomenon and site specificity while working with senior artist Mark Thompson at Headlands Center for the Arts. The issue the artists sought to engage was the interface between people, the land and the bay; the littoral zone, which is neither solid land, nor pure water.