Patrick Dougherty weaves the simplest of materials into structures of  inventive triumph.

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Constructed on-site regulating locally sourced materials as well as project specific volunteer labor, Patrick Dougherty’s sculptures comprise tangles of twigs and branches which have been remade in to something astonishing – as well as wild, superb, artful, and humorous.

“My perspective on public art is that it needs to be site specific – it needs to fit its site,”

Stickwork is Dougherty’s initial monograph, covers thirty-eight of his organic, energetic installations which blur the lines between architecture, landscape, as well as art.

Over the last twenty-five years, Dougherty has built over 200 installations around the world – all made from twigs, branches, saplings and sticks. Each of his sculptures is designed and executed without the use of nails or other supportive hardware, and the result is a creation that may resemble something artful that was shaped by a powerful wind that swept across the landscape.

“I must be a public artist. I work in public, and I capitalize on the drama of building.”

Big Willow project, Brahan Estate, Scotland

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“Sticks are something we all have in common. Everybody knows sticks – the twigs and branches picked up on grandfather’s farm; the branches woven in grandmother’s basket. Somewhere threaded in all the public mass is a common thread, and that thread is the human spirit.”

max azria boutique melrose place

Patrick lives in his handmade residence of record in Chapel Hill, North Carolina, USA

Combining his carpentry skills with his love of nature, Patrick Dougherty began to learn about primitive techniques of building and to experiment with tree saplings as construction material.

“My affinity for trees as a material seems to come from a childhood spent wandering the forest around Southern Pines, North Carolina – a place with thick underbrush and many intersecting lines evident in the bare winter branches of trees”

“When I turned to sculpture as an adult, I was drawn to sticks as a plentiful and renewable resource. I realized that saplings have an inherent method of joining – that is, sticks entangle easily. This snagging property is the key to working material into a variety of large forms.”

Beginning about 1980 with small works, fashioned in his backyard, he quickly moved from single pieces on conventional pedestals to monumental site-specific installations that require sticks by the truckload.

To date he has built over two hundred such massive sculptures all over the world.

Over the final twenty-five years, Dougherty has built some-more than dual hundred functions via the United States, Europe, as well as Middle East which operation from stand-alone structures to the kind of complicated obsolete architecture—every square hypnotizing in the capability to fly by trees, pass buildings, as well as probably challenge gravity.

“The idea of developing the grounds so there’s a sculpture park where people can have conversations with artists is great. People talked with me while I was working, and that gave them a real sense of the work ethic you have to have to be an artist. Just seeing someone physically making art is really educational.”

His sculptural installations have appeared indoors, outdoors, in civic areas as well as countrysides, upon college campuses as well as in museums all over the world.

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One of his latest installations is the “Summer Palace”, below, at the Morris Aboretum of the University of Pennsylvania. They blogged the process of its creation, documenting the growth of the 25 foot high structure from thousands of sticks.

Artist Patrick Dougherty is known around the world for turning simple twigs into grand architectural masterpieces. In Artisode 2.4 watch his latest project unfold on the campus of Albuquerque’s Bosque School, as he works with students and community members to tap into the mythology of the Green Man.

Projects

Amongst the Trees

Jugs & Bottles

Groups

Buildings

Museum installations

Landscapes

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Interview

Via  Star Tribune / By Lynn Underwood / 5th May, 2010

Patrick Dougherty, an internationally known environmental artist, is building a massive willow sculpture on a stage in front of the visitor center. The organic art installation is part of this summer’s “Big Build” exhibit.

He’ll toil for 17 days with the help of 75 volunteers to unload five trucks of branches, build scaffolding and weave the willow into a form inspired by the site and surroundings.

I talked to Patrick Dougherty last week about his passion for creating artwork from sticks.

Q Your job is pretty unusual. What do you tell people you do for a living?

I’m a sculptor, but it’s hard to explain that I use tree saplings. It helps if I have a picture to show them. They always compare it to making forts.

Q Did you build stick forts when you were a kid?

I spent a lot of time in the woods making stick and pine straw tepees in North Carolina with my brothers and sisters. Now I’m choosing sticks to play out adult ideas. My work encourages people to reminisce about their own childhoods when they built forts and made things.

Q How did you become an environmental artist with more than 150 works all over the world?

When I worked in hospital administration, I would look out my office and see carpenters who were having more fun. I enjoyed making things. So I decided to go back to school and become a sculptor. I decided that sticks would be a good vehicle to carry out my ideas. It was an available material because sticks are a product of suburban society. When they clear forests, they produce lots and lots of saplings.

Q You’re 64 years old and you have jobs scheduled into 2012. What keeps you going?

I think that I’m a maker and as long as I get to work with natural materials, I’m really happy. I love the challenge of trying to fit something onto a site and make it look like it has the feeling of a natural phenomenon — like it somehow might have blown in on the wind.

Q What was your first sculpture?

In the early 1980s I built human stick figures that sat in chairs. My first works were displayed in art galleries and at art centers. Then I started making architectural folly, and that expanded my work to buildings 30 feet high.

Q Which sculpture was the most grueling to build?

In Ireland, I made a stick tower about 45 feet tall that was wrapped around a tree. We had to work in the rain every minute, every day.

Q What’s your strangest-looking creation?

I’ve made some kachina masks that were as big as a house with faces on both sides. You look at them and they look back at you.

Q Your other works resemble wine bottles, tropical huts and palaces. How will you determine the size and shape of the arboretum piece?

It’s serendipitous. I get ideas when I get there and look at the materials, the view and what works best from the site. I may make a little model of it. I have three weeks to make a great sculpture.

Q Why is three weeks the magic number?

If you stay somewhere longer than three weeks, you have to move there. My wife wants me home one weekend a month.

Q It looks like really physical work. Are you sore at the end of the day?

I’ve done this for a long time and I’m used to it. Sometimes my shoulder hurts, but it’s just like being a ditch digger or cabinetmaker. It’s an occupation with pain.

Q How long do the sculptures last? Are you sad when they’re torn down or are destroyed by the elements?

About two years. I’m more interested in the process of making something new and then turning it over to the viewer.

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Natural Architecture

The natural environment still manages to fill us with a sense of awe and amazement. despite the amount of scientific knowledge mankind has gathered, nature still holds great mysteries that we may never be able to unravel.

This complexity has continually daunted man. in frustration, we try to control nature by enforcing order. as a result, we have distanced ourselves from the earth, even though our survival is completely dependent on it. we are now trying to regain our close connection to nature.

There is an emerging art movement that is exploring mankind’s desire to reconnect to the earth, through the built environment.  Referred to as ‘natural architecture’, it aims to create a new, more harmonious, relationship between man and nature by exploring what it means to design with nature in mind. The roots of this movement can be found in earlier artistic shifts like the ‘land art’ movement of the late nineteen sixties.

Although this movement was focused on protesting the austerity of the gallery and the commercialization of art, it managed to expand the formal link between art and nature. This has helped develop a new appreciation of nature in all forms of art and design.

The ‘natural architecture’ movement aims to expand on ‘land art’ by acting as a form of activism rather than protest. this new form of art aims to capture the harmonious connection we seek with nature by merging humanity and nature through architecture. the core concept of the movement is that mankind can live harmoniously with nature, using it for our needs while respecting its importance.

The movement is characterized by the work of a number of artists, designers and architects that express these principles in their work. the pieces are simple, humble and built using the most basic materials and skills. because of this, the results often resemble indigenous architecture, reflecting the desire to return to a less technological world. the forms are stripped down to their essence, expressing the natural beauty inherent in the materials and location.

The movement has many forms of expression that range from location-based interventions to structures built from living materials. however all of the works in the movement share a central ethos that demonstrates a respect and appreciation for nature.

These works are meant to comment on architecture and provide a new framework to approach buildings and  tructures.

They aim to infuse new ideas into architecture by subverting the idea that architecture should shelter nature. instead, the structures deliberately expose the natural materials used in the building process. we see the branches, the rocks and all the materials for what they are. we understand that these structures won’t exist forever. the materials will evolve over time, slowly decomposing until no evidence remains.

These features are intentional, provoking viewers to question the conventions of architecture. the designers aren’t suggesting that architecture must conform to their vision, they are just providing ideas that they hope will inspire us all to rethink the relationship between nature and the built environment.

 Patrick Dougherty’s project installations

1. Handmade House, 1975–77, Chapel Hill, North Carolina
2. Early Works, constructed in back yard and shown at various venues
3. Waiting It Out in Maple, 1983, Southeastern Center for Contemporary Art, Winston Salem, North Carolina
4. From Hedges to Hirshhorn, l984, Center Gallery, Carrboro, North Carolina
5. Maple Sugar Daddies, 1985, Center Gallery, Carrboro, North Carolina
6. Brushwork, l985, Waterworks Visual Arts Center, Salisbury, North Carolina
7. Radley House Sculpture, 1985, Duke University Drama Program, Durham, North Carolina
8. Hanging around the South, 1985, Duke University Student Union, Durham, North Carolina
9. Penland Yardage, 1985, Penland School of Crafts, Penland, North Carolina
10. Topsy-Turvy, l986, Spirit Square Center for the Arts, Charlotte, North Carolina
11. Come Hell or High Water, 1986, Greenhill Center for North Carolina Art, Greensboro, North Carolina
12. Topiary Heroes, l986, University of South Florida, Tampa, Florida
13. Cleveland Spinner, l987, Spaces Gallery, Cleveland, Ohio
14. Cornering the Market, l987, Market House, Fayetteville, North Carolina
15. Rites of Time, l987, American Dance Festival, Durham, North Carolina
16. Spiral-Bound, 1987, Mint Museum, Charlotte, North Carolina
17. Turnabout Is Fair Play, l987, 1708 East Main Gallery, Richmond, Virginia
18. Window Installation, 1987, Man Bites Dog Theater, Durham, North Carolina
19. Homespun, 1988, Mint Museum, Charlotte, North Carolina
20. Rites of Passage, l988, Eno Festival, Durham, North Carolina
21. A Stitch in Time, l988, The Art Center, Carrboro, North Carolina
22. No Such Thing as Nervous, l988, Broadway Windows, New York University, New York, New York
23. Shrubterranean, l988, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina
24. Sailors Take Warning, l988, Newhouse Gallery, Snug Harbor Cultural Center, Staten Island, New York
25. Rolla Coaster, 1988, Marin Civic Center Lagoon, San Rafael, California
26. Highfalutin’, 1988, One World Trade Center, New York, New York
27. Two-Hut Tango, 1988, Second Street Gallery, Charlottesville, Virginia
28. Raring to Go, 1988, Birmingham Museum of Art, Birmingham, Alabama
29. Shelters of Transition, 1989, North Carolina Museum of Art, Raleigh, North Carolina
30. Woodwinds, 1989, Brooks Museum of Art, Memphis, Tennessee
31. Ollie, Ollie in Free, 1989, Wake Forest University, Winston-Salem, North Carolina
32. Catch As Catch Can, 1989, High Museum of Art, Atlanta, Georgia
33. Let’s Give It a Whirl, 1989, St. Andrew’s-Sewanee School, Sewanee, Tennessee
34. Second Growth, 1989, Durham Arts Council, Durham, North Carolina
35. The Terror of Split Ends, 1989, North Art Center Gallery, Atlanta, Georgia
36. Triage, 1989, La Jolla Museum of Contemporary Art, La Jolla, California
37. No Strings Attached, 1989, Columbus Museum, Columbus, Georgia
38. Speedball, 1990, Henry Art Gallery, University of Washington, Seattle, Washington
39. Patrick Dougherty’s Nature, 1990, Atlanta College of Art Gallery, Atlanta, Georgia
40. Urban Tangle, 1990, BMW Gallery, New York, New York
41. Spinoffs, 1990, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts
42. Out of Bounds, 1990, Hudson River Museum, Yonkers, New York
43. Snowman, 1990, North Carolina Museum of Art, Raleigh, North Carolina
44. Undertow, 1990, East Hampton Center for Contemporary Art, East Hampton, New York
45. Decked Out in Maple, 1990, Alexandria Museum of Art, Alexandria, Louisiana
46. Shelterbelt, 1990, North Dakota Museum of Art, Grand Forks, North Dakota
47. Untitled, 1990, Hodges-Taylor Gallery, Charlotte, North Carolina
48. Homebound, 1991, Socrates Sculpture Park, Long Island City, New York
49. Virginia Reel, 1991, Virginia Beach Center for the Arts, Virginia Beach, Virginia
50. Spinning Yarns, 1991, Wilson Arts Council Gallery, Wilson, North Carolina
51. Homemade, 1991, World Gallery, Asheville, North Carolina
52. Round and Round Again, 1991, in collaboration with sculptors Ron Fondaw and Karen Rifas, North Miami Beach Center of Contemporary Art, Miami, Florida
53. Simple, Hard and Easy, 1991, Research Triangle Park, North Carolina
54. Shuckin’ and Jive, 1991, Jacksonville Art Museum, Jacksonville, Florida
55. Family Trees, 1991, Katonah Museum of Art, Katonah, New York
56. Rip-Rap, 1991, Manchester City Art Gallery, Manchester, England
57. Nooks and Nitches, 1991, Roanoke Museum of Fine Art, Roanoke, Virginia
58. In and Out the Window, 1991, Ness Gardens, The Wirral, Cheshire, England
59. Portals, Pivots, and Perspectives, 1991, Smith College Museum of Art, Northampton, Massachusetts
60. Sacred Grove, 1991, Carteret Arts Council, Beaufort, North Carolina
61. Whim-Whams, 1992, Laumeier Sculpture Park, St. Louis, Missouri
62. Remodeled, 1992, University of North Carolina, College of Architecture, Charlotte, North Carolina
63. Two Over, One Under, 1992, Pamela Joseph Estate, Pound Ridge, New York
64. Holy Rope, 1992, Rinjyo-in Temple, Chiba, Japan
65. Spring Forward, Fall Back, 1992, Tozurahara Art Park, Fujino Arts Village, Japan
66. Untitled, 1992, in collaboration with landscape architect Tsutomu Kasai, Kakitagawa Museum, Mishima, Japan
67. Architectural Detail, 1993, Hanes Gallery, University of North Carolina, Chapel Hill, North Carolina
68. Out of Hand and Chit Chat, 1993, The Phillips Collection, Washington, D.C.
69. Wild As All Get Out, 1993, Aspen Art Museum, Aspen, Colorado
70. Cliff Dwelling, 1993, Suzanne Farber Estate, Aspen, Colorado
71. On the Verge, 1993, Artspace, Raleigh, North Carolina
72. By Leaps and Bounds, 1993, Red Rose Forest Project, Manchester, England
73. Huddle Up, 1993, Yorkshire Sculpture Park, West Bretton, England
74. Bird’s Eye View, 1993, Carolina Union Gallery, University of North Carolina, Chapel Hill, North Carolina
75. Yard Bird, 1994, Joy Javits Collection, Chapel Hill, North Carolina
76. Bushman’s Holiday, 1994, Salina Art Center, Salina, Kansas
77. When Push Comes to Shove, 1994, South Carolina State Museum, Columbia, South Carolina
78. The Four Gates of Eden, 1994, Assen, The Netherlands
79. From Aah to Uum, 1994, Dittmer Collection, Aspen, Colorado
80. Homing Instincts, 1994, Seidel Collection, Aspen, Colorado
81. Little Big Man, 1994, Krakamarken/Nature Sculpture Park, Randers, Denmark
82. Coming Up for Air, 1994, Arte Sella Sculpture Park, Trento, Italy
83. Talking Up a Storm, 1994, Penland School of Crafts, Penland, North Carolina
84. Him and Her, 1994, Iscol Estate, Pound Ridge, New York
85. Tension Zone, 1995, John Michael Kohler Arts Center, Sheboygan, Wisconsin
86. Basket Case, 1995, South Florida Art Center, South Miami Beach, Florida
87. A Detailed Account, 1995, Green Hill Center for Art, Greensboro, North Carolina
88. Strictly for the Birds, 1995, Blue Jay Point County Park, Raleigh, North Carolina
89. The Marriage Ring, 1995, Moore Ranch, Aspen, Colorado
90. Bridging the Rio Grande, 1995, Museo de Arte Carrillo Gil, Mexico City, Mexico
91. Caught in the Act, 1995, Herron School of Art, Indianapolis, Indiana
92. Colonnade, 1995, Kemper Museum of Contemporary Art and Design, Kansas City, Missouri
93. Sittin’ Pretty, 1996, South Carolina Botanical Garden, Clemson, South Carolina
94. Points of Attachment, 1996, Ringling School of Art, Sarasota, Florida
95. Running in Circles, 1996, TICKON Sculpture Park, Langeland, Denmark
96. Natural Selection, 1996, Copenhagen Botanical Garden, Copenhagen, Denmark
97. Reading between the Lines, 1996, Georgia Museum of Art, Athens, Georgia
98. Crossing Over, 1996, American Craft Museum, New York, New York
99. Ever So Humble, 1996, Hiestand Galleries, Miami University, Oxford, Ohio
100. Whirlaway, 1996, Memorial Park, Spalding University, Louisville, Kentucky
101. Oh, Me, Oh, My, Oh, 1996, Allen Parkway, Buffalo Bayou Artpark, Houston, Texas
102. Hoopla, 1997, Neuburger Museum of Art, Purchase, New York
103. The Path of Least Resistance, 1997, Spoleto Festival, Charleston, South Carolina
104. Comets, Spheres, and Curlicues, 1997, North Carolina Museum of Art, Raleigh, North Carolina
105. Desire Line, 1997, Salina Art Center, Salina, Kansas
106. Prairie Temple, 1997, Brad Stuie Residence, Salina, Kansas
107. Déjà Vu, 1997, Salina Art and Humanities Commission, Salina, Kansas
108. Wide Bodies, 1997, Wichita Center for the Arts, Wichita, Kansas
109. Standing Room Only, 1997, Western Michigan University, Kalamazoo, Michigan
110. Roundabout, 1997, Tallaght Community Arts Centre, Dublin, Ireland
111. Face to Face, 1998, San Jose Museum of Art, San Jose, California
112. Cell Division, 1998, Savannah College of Art and Design, Savannah, Georgia
113. Bottleneck, 1998, University of Michigan, Ann Arbor, Michigan
114. In Nature’s Sway, 1998, Evanston Art Center, Evanston, Illinois
115. Lemonwheel, 1998, Lemonwheel Music Festival, Limestone, Maine
116. High Strung, 1998, Ackland Art Museum, Chapel Hill, North Carolina
117. Dixie Cups, 1998, University of Wisconsin, Madison, Wisconsin
118. Short Cut (Interior), Easy Does It (Exterior), 1998, Hollywood Art and Cultural Center, Hollywood, Florida
119. Be It Ever So Humble, 1999, Savannah College of Art and Design, Savannah, Georgia
120. Greenware, 1999, Alfred University, Alfred, New York
121. Garden Variety, 1999, Artsplosure, Raleigh, North Carolina
122. From the Castle’s Kitchen, 1999, Schloss Ebenau, Weitzelsdorf, Austria
123. Jug or Naught, 1999, Frederik Meijer Gardens, Grand Rapids, Michigan
124. Balancing Act, 1999, Compton Verney, Warwick, England
125. Owache, 1999, Northern Illinois University Art Museum, Dekalb, Illinois
126. Rough Cut, 1999, Ft. Lauderdale Museum of Art, Ft. Lauderdale, Florida
127. Whatchamacallit, 2000, National Museum of Natural History, Smithsonian Institution, Washington, D.C.
128. Sleepwalking, 2000, Atelier 340 Museum, Brussels, Belgium
129. Set for LUYALA, 2000, Duke University Artists Series, Durham, North Carolina
130. Keepsake, 2000, John Michael Kohler Arts Center, Sheboygan, Wisconsin
131. Wound Up, 2000, Weston Art Gallery at the Aronoff Center, Cincinnati, Ohio
132. Yard Work, 2000, Symposium d’Art Nature, Cime et Racines, Quebec, Canada
133. Abracadabra, 2000, Swarthmore College, Swarthmore, Pennsylvania
134. Cakewalk, 2000, Bowling Green State University, Bowling Green, Ohio
135. Tea Time, 2000, Lancaster Museum of Art, Lancaster, Pennsylvania
136. Standby, 2001, Raleigh-Durham International Airport, Raleigh, North Carolina
137. Spittin’ Image, 2001, South Carolina Botanical Garden, Clemson, South Carolina
138. Slip-Slidin’, 2001, Meyers School of Art, University of Akron, Akron, Ohio
139. Paradise Gate, 2001, Smith College, Northampton, Massachusetts
140. St. Denis Tower, 2001, Djerassi Foundation, Woodside, California
141. Rerun, 2001, Iscol Estate, Pound Ridge, New York
142. Tea for Two, 2001, Eskin Residence, Aspen, Colorado
143. Simple Pleasures, 2001, Bowdoin College Museum of Art, Brunswick, Maine
144. Full Court Press, 2001, Munson-Williams-Proctor Arts Institute, Utica, New York
145. The Real McCoy, 2002, Huntington Museum of Art, Huntington, West Virginia
146. Threadbare, 2002, University of Cincinnati, Cincinnati, Ohio
147. Off the Beaten Path, 2002, Stone Quarry Art Park, Cazenovia, New York
148. Call of the Wild, 2002, Museum of Glass, Tacoma, Washington
149. Headstrong, 2002, Boise Art Museum, Boise, Idaho
150. The Cure, 2002, Brattleboro Museum, Brattleboro, Vermont
151. Mum’s the Word, 2002, San Diego Wild Animal Park, San Diego, California
152. Twiganometry, 2002, Carleton College, Northfield, Minnesota
153. Shades of Home, 2002, Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, Kansas
154. A Cappella, 2003, Villa Montalvo, Saratoga, California
155. Fiddlesticks, 2003, Children’s Museum of Richmond, Richmond, Virginia
156. Just around the Corner, 2003, New Harmony Gallery, New Harmony, Indiana
157. Bivouac, 2003, Three Rivers Arts Festival, Pittsburgh, Pennsylvania
158. Rough Housin’, 2003, Powell Gardens, Kingsville, Missouri
159. Na Hale ‘Eo Waiawi, 2003, The Contemporary Museum, Honolulu, Hawaii
160. Cabin Fever, 2003, Maclaren Art Centre, Barrie, Ontario, Canada
161. Hat Trick, 2003, Faulconer Gallery, Grinnell College, Grinnell, Iowa
162. Cascadia, 2003, Lynden Pioneer Museum, Lynden, Washington
163. Haywire, 2004, Bay Area Discovery Museum, Sausalito, California
164. Arcadia, 2004, Shreveport Regional Arts Council, Shreveport, Louisiana
165. Growth Spurt, 2004, Osnabrück, Museum and Art Association, Osnabrück, Germany
166. Putting Two and Two Together, 2004, Woodson Art Museum, Wausau, Wisconsin
167. Rough around the Edges, 2004, Allentown Art Museum, Allentown, Pennsylvania
167. On the Outskirts of Town, 2004, Shreveport Regional Arts Council, Shreveport, Louisiana
169. Cue Ball, Cross Hatching, Doin’ the Locomotion, Free Wheeling, Tower Vertigo (five works/three months), 2004, Exhibition entitled Twisted Logic, Grounds for Sculpture, Hamilton, New Jersey
170. Inside View, 2005, Augusta State University, Augusta, Georgia
171. Toad Hall, 2005, Santa Barbara Botanic Garden, Santa Barbara, California
172. Trail Heads, 2005, North Carolina Museum of Art, Raleigh, North Carolina
173. L’Aurore des Borries, 2005, Savannah College of Art and Design, Lacoste, France
174. Twigamore, 2005, Sioux City Art Center, Sioux City, Iowa
175. Still Life with Sticks, 2005, Indianapolis Art Center, Indianapolis, Indiana
176. Roustabout, 2005, Community Council for the Arts, Kinston, North Carolina
177. Side Steppin’, 2005, Nasher Museum of Art, Duke University, Durham, North Carolina
178. Pines Portico, 2005, Penland School of Crafts, Penland, North Carolina
179. Out in the Sticks, 2006, Wieden and Kennedy Building, Portland, Oregon
180. Foreplay, Arabasque, Nine Lives, Room to Spare (four works/ four months), 2006, Franklin Park Conservatory, Columbus, Ohio
181. Close Ties, 2006, Scottish Basketmakers’ Circle, Dingwall, Scotland
182. Half a Dozen of the Other, 2006, Cornell Council for the Arts, Ithaca, New York
183. Square Roots, 2006, David Winton Bell Gallery, Brown University, Providence, Rhode Island
184. Just for Looks, 2006, Max Azria Melrose Avenue Boutique, Los Angeles, California
185. Stir Crazy, 2007, Frederik Meijer Gardens, Grand Rapids, Michigan
186. Childhood Dreams, 2007, Desert Botanical Garden, Phoenix, Arizona
187. Home Sweet Home, 2007, Island School Council for the Arts, Bluffton, South Carolina
188. Xanadu, 2007, Morten Arboretum, Chicago, Illinois
189. Second Sight, 2007, Palm Springs Art Museum, Palm Springs, California
190. So Inclined, 2007, Middlebury College Museum of Art, Middlebury, Vermont
191. Simple Logic, 2007, DePauw University, Greencastle, Indiana
192. Catawampus, 2008, Los Angeles County Arboretum and Botanic Garden, Arcadia, CA
193. Lookout Tree, 2008, Turtle Bay Arboretum, Redding, CA
194. Stickwork, 2008, Museum of Outdoor Art, Denver, CO
195. Sortie de Cave / Free At Last, 2008, Jardin des Arts, Chateaubourg, France
196. Ruaille Buaille / Highjinx, 2008, Sculpture in the Parklands, Tullamore, County Offaly, Ireland
197. Shortcut, 2008, University of Wyoming, Laramie, WY
198. Hocus Pocus, 2008, Bittersweet Farms, Ennice, NC
199. Twisted Sisters, 2008, Wheaton College, Norton, MA
200. Restless by Nature, 2008, City of Ames, IA
201. Creature Comforts, 2008, Colorado College, Colorado Springs, CO
202. Upper Crust, 2009, San Francisco Arts Commission, San Francisco, CA
203. Lookin’ Good, Lookin’ Good, 2009, Montgomery Museum of Fine Arts, Montgomery, AL
204. Summer Palace, 2009, Morris Aboretum of the University of Pennsylvania, Philadelphia, PA
205. Bedazzler, 2009, Spencer Museum of Art, University of Kansas, Lawrence, KS
206. The Rambles, 2009, Florence Griswold Museum, Old Lyme, CT