Twenty years ago, I created Emulated Flora, a large-scale installation at 70 Washington Street in DUMBO, Brooklyn, at a time when the neighborhood was just beginning its transformation into a major art district. The project was documented by photographer Etienne Fro and remains one of the most defining works in my career.
Emulated Flora brought together sculptural forms, layered light, and organic imagery to create an immersive environment. Assisted by Dan during the installation, I designed the work to explore the relationship between natural growth and man-made structure, a theme that has continued to shape my practice. The scale of the installation invited viewers to physically enter the work, surrounding them in shifting layers of light and form — an experience that blurred the boundary between sculpture, architecture, and environment.
Although Emulated Flora was deinstalled earlier this year, the work is now available for acquisition, offering an extraordinary opportunity for collectors, museums, or contemporary galleries to bring this landmark piece into a new home. Its scale and transformative presence make it ideal for institutions or collections invested in immersive and innovative installation art.
This work resonates strongly with the type of artists represented by world-renowned galleries such as David Zwirner, Victoria Miro, and Gagosian, who continue to champion large-scale installation, light-based sculpture, and experimental practices. In dialogue with artists who transform space — from James Turrell’s luminous environments to Yayoi Kusama’s infinity rooms — Emulated Flora embodies that same spirit of immersion, offering viewers a sense of wonder, reflection, and renewal.
For collectors searching for large-scale contemporary installation art for sale, or galleries seeking immersive sculpture by a British contemporary artist, Emulated Flora is both an artwork and an environment. It represents a pivotal moment in the Brooklyn art scene and stands as a touchstone in my ongoing exploration of light, perception, and layered form.
As my practice continues to evolve internationally, I look forward to seeing Emulated Flora find its next home — a space where it can once again engage audiences, transform architecture, and inspire new conversations.
