Sean Scully

August 17, 2017

Sean Scully is an abstract artist known for creating geometric color-field paintings with his own gestural, almost figurative style of brushwork. While many other geometric color-field painters are known for hard, defined edges between shapes, in Scully’s work, lines blur as forms bleed between each other. The following three interior schemes are inspired by Scully’s work.

SS Doric Blue Blue

Sean Scully Interior Scheme I

Artwork: Doric Blue Blue by Sean ScullyMayor Sofa by Arne Jacobsen and Flemming Lassen for &tradition21 Series 7 Pendant Chandelier by BocciPole Light by Matthew Hilton for De La EspadaJey Table by Francesco Rota for LapalmaBrody Low Back Armchair by PinchMinimalista Coffee Table by Blu DotAgra Knot Rug by Armadillo&Co

SS Doric Sea

Sean Scully Interior Scheme II

Artwork: Doric Sea by Sean Scully; Marble Table by Ferm Living; Capo Lounge Armchair by Neri & Hu for De La Espada; Husk Weave Rug by Armadillo&Co; Flask Floor Lamp by Blu Dot; Swole Table by Blu Dot; Lodge Chandelier by Workstead; Tailor Sofa by Rui Alves for Menu

SS Robe

Sean Scully Interior Scheme III

Artwork: Small Horizontal Robe by Sean Scully; Gala 7220 Chandelier by Rich Brilliant Willing; Afteroom Lounge Chair by Menu; Mulberry Tripod Floor Lamp by Schoolhouse Electric & Supply Co; Port Side Table by Gabriel Tan for DWR; Hadley Hall Sofa by Holly Hunt; Solapa Slim Table by Jon Gasca for Stua; Leila Rug by Armadillo&Co

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GEOFORM – JanKossen Gallery

July 16, 2017

River of Five Colors was selected for GEOFORM, a group exhibition organized by JanKossen Gallery and Arte Ponte. The exhibition is on view July 13 through August 18, 2017 at 529 W 20th Street in New York City.

Geoforms Exhib Image


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July 04, 2017

Exploring motifs from ancient architecture and the animal kingdom, this series addresses our tendency to choose sides and organize around symbols. Heroes and villains, gods and monsters — who do we align ourselves with, and who do we oppose? Our allies or our enemies — the walls we build around ourselves and between each other are sometimes fraught with meaning, but often more arbitrary than we would like to believe. I am often tempted to look to the natural world as a model for how humans should interact, but even in nature, there is just as much conflict as there is cooperation.

Gate I

Gate I, 2017, acrylic on canvas, 14 x 23 inches

Gate II

Gate II, 2017, acrylic on canvas, 18 x 26 inches

Castle I

Castle I, 2017, acrylic on canvas, 28 x 28 inches

Castle II

Castle II, 2017, acrylic on canvas, 28 x 30 inches


Monarch, 2017, acrylic on canvas, 34 x 32 inches


Viceroy, 2017, acrylic on canvas, 30 x 30 inches


Serpent, 2017, acrylic on canvas, 28 x 40 inches


Sphinx, 2017, acrylic on canvas, 28 x 22 inches


Kingdom, 2017, acrylic on canvas, 28 x 22 inches


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May 26, 2017

Art and the Aesthetics of Ecology in the Built Environment


Below is the abstract and full PDF document for my thesis written as part of my Master of Arts in Sustainable Interior Environments.


With building construction and operation accounting for such a significant percentage of material and energy consumption, green building design is essential to a sustainable future. Green building design strategies include ample daylighting, stormwater retention and reuse, natural ventilation, and the use of renewable energy sources. While these technological strategies are key to reducing our negative ecological impact, a sustainable future must also include a cultural component built around a deeper collective understanding of our relationship with the natural environment. In promoting this understanding, architects and designers can play an important role in the way they design the built environment, not just through technological strategies, but also through aesthetic ones.

Sunlight, water, and wind are all sources of renewable energy. In addition, these natural elements are taken into consideration in green building design through the evaluation of daylighting, water consumption and runoff, natural ventilation, and indoor air quality. In addressing the relationship between humans and the natural environment, these elements (sun, water, and air) not only apply to energy and environmental impact in building design, but are also natural resources that all living things depend on. I propose that through integrating ecological art features which somehow engage with these natural forces, architects and designers can enhance the experience of the built environment, to illustrate its interaction with the natural environment, and our relationship with other living things.

Full Document: SUN / WATER / WIND PDF

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Wide Open – BWAC

May 22, 2017

Blocks I-IV were selected for Wide Open at Brooklyn Waterfront Artists Coalition (BWAC). The show is on view May 13 through June 18, 2017 at 481 Van Brunt Street in Red Hook, Brooklyn.

Blocks Installation Image

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This project is intended to demonstrate the act of harnessing the power of wind to generate energy in an urban setting. The work is designed to crown the top of a fairly tall building, and can be viewed from the roof or the street below. Extending upward from the parapet walls of the roof, two diagonal metal rods on opposite corners meet in one corner to create a triangular sail shape on two sides of the building. Within the structure is a grid containing many circular micro-turbines, which rotate in the wind, generating electricity which can be utilized within the building.


Sail, 2017, Recycled steel frame, micro-turbines, and LED lights, 60 x 60 x 60 feet (Daytime view)

The turbines consist of blades of contrasting colors, making their movement more apparent during the daytime. Each turbine also contains an LED light in the center which will brighten and dim depending upon the speed at which it is rotated. The design would be best suited for taller buildings in coastal areas or other locations where there is continuous breeze from a consistent direction.


Sail, 2017, Recycled steel frame, micro-turbines, and LED lights, 60 x 60 x 60 feet (Nighttime view)

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Pendant Bridge

May 21, 2017

This wind-based project is integrated into the support structure of a pedestrian bridge, and intended to demonstrate the movement of the wind in a three-dimensional setting. In this work, two columns support larger diagonal cables connected to the base of the bridge, while additional vertical cables extend between the diagonal cables and the base. The vertical cables hold varying numbers of triangular, pendant-shaped aluminum panels which rotate freely in the wind.


Pendant Bridge, 2017, Recycled steel frame with aluminum panels, 96 x 16 x 24 feet

Much like a contemporary version of a weathervane, the pendants indicate the direction of the wind. Viewers can walk across the bridge, among the pendants, experiencing the changing direction of the wind through visual cues within an immersive space.


Pendant Bridge, 2017, Recycled steel frame with aluminum panels, 96 x 16 x 24 feet (First-person view)

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Water Gardens

These two works illustrate the way rainwater can be harvested and reused within buildings. Both projects involve harvesting systems on the roof which bring water down into an interior courtyard with a pool containing aquatic plant life, and possibly fish and other marine life as well.

The first project utilizes moving water to generate energy. A chute directs harvested rainwater into a series of wheels, which rotate, releasing water into the pool below. While the wheels are designed to be aesthetically elegant visual components, they also power generators which serve as a source of electricity within the building. The wheels remain still during most times, and are only put in motion during rainfall. The act of generating electricity is illustrated through a series of underwater lights which become illuminated when the wheels are activated.


Water Garden I, 2017, Rainwater, waterwheels, LED lights, plant life, and marine animals, 73 x 43 x 71 feet

The second version consists of a similar environment, but in place of of components which rotate, instead involves components which vibrate and resonate with sound. Water is directed through a series of chains suspended from the ceiling, causing the chains to rattle, while some of the chains are placed above bells located near the surface of the pool. Water from the chains falls onto the bells creating a soft ringing sound as well.


Water Garden II, 2017, Rainwater, chains, bells, plant life, and marine animals, 73 x 43 x 75 feet

Both versions of the Water Garden portray water as an activating element, which brings the works to life. The idea of water as a life-giving element is also emphasized by the presence of aquatic plant life. The pools remain full at all times, circulating the existing water, and being replenished with new water during rainfall, allowing excess water to then be routed to additional irrigation systems on the grounds, or to be reutilized in toilets or as process water within the building.

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Spectrum Shelter

This project combines the movement of the sun with colored panes of glass, to create a patterned color projection which changes throughout the day and year. The tilted, tent-shaped metal frame construction is approximately 8 feet wide by 8 feet tall at one end and 20 feet wide by 20 feet tall at the other end. The structure is oriented length-wise to the north and south, with vertical supports spaced about 2 feet apart, each holding several panes of colored glass. The eastern facade contains cooler colors, while the western facade contains warmer colors.


Spectrum Shelter, 2017, Recycled steel, colored glass, 30 x 30 x 20 feet (Morning view, East facade)

The colors on the eastern facade are intended to emphasize the cooler light temperature at sunrise, while those on the western facade enhance the warmer light temperature, or “golden hour” experienced before sunset. The metal frame structure casts shadows that move throughout the day, while the interior is illuminated with cooler colors earlier in the day, and warmer colors later in the day. The structure would be best suited for a wide-open space such as a public plaza, but could also be used as an entry lobby, or corridor space connecting two parts of a building.


Spectrum Shelter, 2017, Recycled steel, colored glass, 30 x 30 x 20 feet (Afternoon view, West facade)

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City Lights

This project is intended to illustrate the act of collecting and utilizing solar energy in an urban setting. The work consists of a series of 4-foot-wide square and triangle-based metal-framed towers between 12 and 26 feet tall. The top surface of each tower is slanted at a 45-degree angle and oriented to be facing south, consisting of a photovoltaic panel facing skyward, a high capacity battery within, and a panel of LED lights on the underside. During the day, the solar panels collect energy to be stored in the batteries, which is then released as light in the evening.


City Lights, 2017, Recycled steel, photovoltaic panels, batteries, LED lights, 17 x 17 x 26 feet (Daytime view)

The towers would ultimately be located in a park within a larger city, in which comparison could be drawn between the silhouettes of the towers and the city skyline. The towers are essentially symbols of buildings, existing on a slightly more human scale, in which people can walk in and among them. The collection, storage, and use of solar energy within the sculptures is intended to make people consider how solar energy can be utilized within the built environment. The vertical orientation of the towers will also result in elongated shadows which move across the ground during the day as the angle of the sun changes. The geometric nature of this work would allow for it to be designed with custom heights and configurations depending upon where it is located.


City Lights, 2017, Recycled steel, photovoltaic panels, batteries, LED lights, 17 x 17 x 26 feet (Evening view)

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