125 Swimming Pools

195 Yachts, Barges, Cargo Lines, Tankers and Other Ships

104 Airplanes

Every Basketball Court in Manhattan

10 Waterslide Configurations

From the Artist’s website:
“In all of my prints, I collect things that I’ve cut out from Google Satellite View– parking lots, silos, landflls, waste ponds. The view from a satellite is not a human one, nor is it one we were ever really meant to see. But it is precisely from this inhuman point of view that we are able to read our own humanity, in all of its tiny, reliably repetitive marks upon the face of the earth. From this view, the lines that make up basketball courts and the scattered blue rectangles of swimming pools become like hieroglyphs that read: people were here. “
For more:
Matthew Cusick  Inlaid maps on panel

Geronimo, 2007, inlaid maps on panel, 30 x 24 inches

Matthew Cusick  Magazine clippings on panel

Rendezvous, 2009, from Happy Endings series, magazine clippings on panel

Many Rivers, 2009, inlaid maps, acrylic on panel, 48 x 78 inches

From Artist’s press release:

“Cusick has refined his technique of painting with maps, using them as a surrogate for paint – their inherent visual qualities of tone, value, and density employed to render the spatial image of the highways.”

“The maps used for this body of work come from Cusick’s collection of American world atlases and school geography books from 1872-1945, a time period during which the world’s geography changed dramatically. “

“Maps are still masterfully cut and inlaid, but some areas are left untreated while others appear to have already eroded. For Cusick, these tiny deviations in craftsmanship are apocalyptic gestures revealing the ominous end to our civil ambitions.”

Transforming the ordinary into the extraordinary with surprising results!

Caroline Macfarlane and Vanessa Nicholas,
The Neon Bike Project  

“The idea for the NEON BIKE PROJECT came to me while windexing the windows of the OCAD U Student gallery. I was lost in thought and staring at an old rusted Raleigh bicycle locked up to the bike post outside the gallery. It occurred to me that the Raleigh had never been moved from that spot for as long as I could remember. It was a permanent fixture on the street, a gorgeous skeleton of an antique bicycle long forgotten.”

“I began to feel sorry for it, and that’s when I decided that Vanessa and I should reclaim it. The student gallery is on a rather gray, dismal strip of Dundas St; it’s all cement and no trees. We would plant some flowers in bike’s basket, even better, we would also paint the frame of the bike, all of it and in NEON.”

” We agreed that this would be the first of an ongoing project called the “really-fucking-cool-urban-street-project” or just “the neon bike project.

Two days after the bike was completed it had been tagged once and talked about more times than I can count. If I’m outside working on it, I am deluged with questions. People stop to take photos. One father took a photo of it last week and brought his son back to see it in person. Another little boy told me I had a beautiful bike and that he wished he had an orange bike like mine. A woman shook my hand and thanked me for brightening the street. Two police officers came by on numerous occasions to see the transformation of the bike unfold. By the end of the day they were suggesting what types of flowers to plant in the basket and honking and waving as they rode by in their cruiser! The bike has propelled a wave of positivity and interest on the street and in the gallery”

“Yesterday, I arrived to the gallery with flowers, ready to plant them in the basket, only to find a notice from the city stapled to our neon bike. It turns out it is illegal to store bicycles on public property, and that we have seven days to remove it before we are fined and it is taken away to be destroyed. The funny thing is that this bike has been sitting in the same place for years, unnoticed by the city. However, once it is brightened and made beautiful, it’s got to go.”


Your Rainbow Panorama, 2006-2011, ARoS Aarhus Kunstmuseum, Denmark

Photos by Ole Pedersen & Studio

“Your Rainbow Panorama” uses architecture as a “vision machine” to directly address the viewer’s perception of public spaces – here museum and city spaces. The glass panorama provides a colour transparency through which the viewer can see / experience the city and themself in a different “light”.

From Artist’s Statement:

“A city is a cosmos, a site for social encounters and cohabitation. A museum is a vision machine that challenges our senses, thoughts, and felt opinions. The public, you, is a barometer of the world. You mould as much as you receive.

I think of Your rainbow panorama as a mediator that forges relations between these three: you, ARoS, and the city of Aarhus. It is a vehicle for looking anew, which frames views and frames you as you proceed through the seamless walkway of subtly transforming colour atmospheres. What you experience may be of both panoramic scope and introspective quality – you may see yourself seeing. Sometimes alone, mostly with others.”

How it works:

“I see Your rainbow panorama as an orientation tool. Dividing Aarhus into colour zones, it has the qualities of a lighthouse…”

“The continuous curve limits your view to about twenty meters ahead, revealing one colour shade after the other. The intimacy created by this short distance is reflected back on the moving bodies.”

“What you know from the street then emerges from above as strangely real, in a continuous interplay of colour saturation and desaturation. Suspended between the city and the sky, this viewing platform insists on your sensory engagement. You feel the view. Perhaps your memory of the art collections below, through which you just made your way, infiltrate your experience.”

For more information on this installation and other installations by Eliasson:


Transforming the ordinary into the extraordinary:

Empire Dress, 2005, Victorian style dress made from maps of the British Isles, maps, paper, glue, life-size

Colonial Dress, 2008, paper maps

Highland Dress, 2010

Money Dress, 2010

Trayne, 1998, coffee filters, coffee, paper portion cups, cotton thread

From the Artist’s Statement:

“Susan Stockwell’s work takes many forms from small elaborate studies to large scale installations, sculpture, drawings and collage. It is concerned with issues of ecology, geo-politics, mapping, trade and global commerce. The materials used are the everyday, domestic and industrial disposable products that pervade our lives. These materials are manipulated and transformed into works of art that are extraordinary.”

“there is no heavy-handed message here about pollution, wastefulness, or the dark side of Western consumerism. Instead, Stockwell invites you to contemplate and consider what art might be, to look hard at the world, at what you barely notice and do not value – to find profundity and beauty there.”” (Alicia Foster, ´Paper Steel Paper´ Exhibition Catalogue, 2006)

For more:



Book VIII, 2009, 49 x 29 x 18 cm


From Artist’s website:

“Well designed object (or commercial) often has two important aspects. First, it has to function or communicate well. Second, it has to have esthetic value. The reason for this is that people like to have beautifully designed objects. The most attention goes to the best designed commercials.”

“At first, I remove the function by cutting and tearing the book. Then I rebuild the book by curling and gluing the paper. The paper keeps getting connected to the book at all times.”

“I never know beforehand how the work will look like when finished. What I do know is what I want to do with it. Tearing the pages instead of cutting them or working outside of the book with long strands of paper. The structures that appear in my work are deratives of structures in nature, but leave enough to the imagination.”

For further information:


Necklace, 2005, recycled paper, steel wire, 20 x 4.5 cm

Brooch, 2010, recycled paper, steel wire

Lost in Transformation Sculpture, 2009, recycled paper, steel wire, 22 x 22 x 10 cm

From Artist’s Statement:

“The process of making my recycled paperjewellery pieces, involves a slow, “natural” technique. By curving each slice of paper around the steelwire, one by one, one after another, it is as if the piece grows into its shape by itself. This way the character of wood, paper’s original material, is preserved in the piece – as is also the association to the whole organic world, the way it builds itself, being in constant change, traveling in time.”

For more information: