This collection of landscape paintings developed from picture postcards that employ suspended tree limbs in the foreground as a compositional framing device. This familiar visual language offers the viewer a vantage point and often evokes an image of the place as a destination for adventure, nostalgia, or enterprise. In this series of postcards, the point of interest has been painted over, suggesting an alternative route to the lure of the place. Ongoing.

Fictional Cartography

New work in progress. 

Fictional Cartography: Collaging illustrations from a book, Architects of the American Colonies / Vitruvius Americanus.

#authentiCity #nonnativearchitecture #naturalisedarchitecture
#foreignarchitecture #invasivearchitecture #architecture
#history #tourism #historical#fiction #ownership 
#landscape#geography #cartography #map #mapping

Seasonal River

New work in progress.


This collection of landscape paintings developed from picture postcards that employ suspended tree limbs in the foreground as a compositional framing device. This familiar visual language offers the viewer a vantage point and often evokes an image of the place as a destination for adventure, nostalgia, or enterprise. In this series of postcards, the point of interest has been painted over, suggesting an alternative route to the lure of the place. Ongoing.

Columba Livia


Believing that it is always best to study some special group, I have, after deliberation, taken up domestic pigeons.

Darwin (1809–1882)

In the last few years, I have noticed an increase in the numbers of pied, splash and almost pure white pigeons in Boston. White feral rock pigeons (genus Columba livia domestica) are rare occurrences in urban environments, and particularly in colder regions; the Cornell Lab of Ornithology suggests that having a different color makes a pigeon the “odd one out”: easier prey for its natural predators.

As I was doing my preliminary research, I discovered that the white pigeons of Seville, Spain were a gift from the Philippines, for the 1929 World Exposition. Since the initial investigation, this work has taken many different directions: from landscape of spectacle, to economy of tourism and to ghost of colonialism. Work in progress

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Composite Sketch

Micro-pen on watercolor paper, 8.5″ W x 11 L” 2008 – ongoing

German Shepherd Dogs: Tan and Black

German Shepherds are originally bred for herding sheep in agricultural landscape. They are known for being strong, intelligent and obedient, making them ideal as working dogs.  Since then, German Shepherds have taken many significant roles in history, as military dogs during the Nazi Germany war campaign, as police dogs during Civil Rights Movement in the US and as border patrol dogs in Israel. 

Cast bronze reproduction of a mass-produced German shepherd figurine. Dimensions: 7″ L x 3.5″ W x 3.75″ H, 2013

Blue Tarp Landscape

Photo-documetation of blue tarpaulin. Ongoing.


Paper-mâché  and brushed aluminum spray paint. Winter 2011

Dyed Red

This work is an iteration of the Blowout pieces. It is an exercise exploring forms of recessional aesthetics. Cotton fiber paper and red dye, 2.61″ W x 6.14″ L, edition of 25, 2011

blowout, noun \’blō-ˌau̇t\

1: a festive social affair
2: a bursting of a container (as a tire) by pressure of the contents on a weak spot
3: an uncontrolled eruption of an oil or gas well
4: an easy or one-sided victory
5: a valley or depression created by the wind in areas of shifting sand or of light cultivated soil

Blowout: Also, common signs of economic distress visibly across the landscape during the recession.  

A series of hand-painted signs. Acrylic on watercolor paper,  22″ H x 36″ W, 2010-2012

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Wig Collection: Law Abiding Citizen

Repackaged and restocked in various shops. Wig Collection: Law Abiding Citizen. Edition of 10, Halloween 2010

Teaching: Field Practice

FP web

Field Practice is a transdisciplinary project that explores the social role of art and design, examines new forms and strategies in the creative field, and produces work in the public space and interest. Teaching project.

[Click Here to Visit Site]

Gettysburg Address

This project commemorates President Abraham Lincoln’s Gettysburg Address as a dual-purpose text. Not only did this short speech serve to consecrate a battlefield as the “final resting place for those who died,” but it also reminded the nation of the “great task remaining.” By repairing the political, geographical, and moral division, Lincoln asserted, “the dead shall not have died in vain”.

This piece translates the famous opening lines from this speech into American Morse code, signifying a telegraphic communication echoing from the past. The series of dots and dashes is painted on yellow caution tape, which cordons off a space, consecrating it and delineating it from the ordinary perimeters of life. 2006 – 2007

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In the Wrong Place at the Wrong Time

In the Wrong Place at the Wrong Time, furthers Santos’ examination of specific sites and their cultural significance. Reminiscent of an institutional setting, the clocks are set to the capital cities governed by dictators on Human Rights Watch and Amnesty International’s top five worst offenders lists. Through the medium of time, Santos places the viewer in direct connection with disparate, and often forgotten, locations around the world. Winter 2010

Chloe Zaug
Curatorial Associate, Bakalar Gallery

In a Minute of Silence [Lexington Green V.02]

In A Minute of Silence is an interpretation of the view from a fatally wounded soldier as he falls to the ground. Filmed at the site of the Battle of Lexington Green, the fall has been slowed and looped eight times, once for each minuteman killed during the battle. Santos is interested in the sentiments of discontent and disloyalty that reverberated along with optimism and hope during this significant moment in American history and how it has affected the nation’s cultural identity. Spring 2010

Chloe Zaug
Curatorial Associate, Bakalar Gallery

Storefront Library: Department of Micro-Urbanism

The Storefront Library is a temporary public library for a community in Boston which has been without its own branch of the Boston Public Library since it was closed and demolished as part of the Central Artery construction in 1956.  DMU (is a co-collaborator of this project) sees this project as a way to increase the visibility of a distinctive Boston neighborhood and help sustain the vitality of a community which culturally serves not only Boston but the greater New England area. Fall 2009-2010

The Department of Micro-Urbanism [Marrikka Trotter and Jonathan Santos, co-founders] is an art and design initiative aimed at mapping terrains, discovering relationships, addressing issues and exploiting opportunities at the pedestrian urban scale. The initiative’s mission is to expand the space of possibility for agonistic public action, interaction and involvement by initiating, supporting, and realizing creative interventions in the everyday landscape and by increasing public understanding and appreciation of the historical and contemporary political, infrastructural, and socio-economic flows and forces which shape this common terrain.  While participants for each project vary, the Department of Micro-Urbanism draws from a loose network of artists, designers, architects, community leaders and individuals who share the desire to reinforce public space, rethink and extend the possible, and engender and engage in alternative tactics of practice.

Stacked Rifles

Stacked Rifles Historical Marker references Peekskill’s military and geographical history.

“Peekskill was a significant Revolutionary War military base, and at times used as a headquarters for American army officers in the Hudson Valley from 1776 through 1782. The area was important for its hilly defensive location, its views of the bay, and its industries applied to military purposes. The overlook locale, now identified as “Fort Hill” in Peekskill, was the site of five large barracks buildings and two redoubts. An average of 1,000 Continental soldiers were stationed at Camp Peekskill on and off through the eight years of war”.

The piece takes its abstract form from stacked rifles; this familiar configuration symbolizes soldiers at ease. The piece is painted in safety orange, which is the standard color for defining a protective space, marking a location or the need for awareness. When viewed from directly above, the sculpture’s four abstract rifles create an X, both marking the spot as a place of significance, and calling for future vigilance. Fall 2006

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Blue Collapsible Sculpture

This temporary sculpture is drawn from my time in Maine and my experience of the back roads and front lawns that define its domestic landscape. Blue poly tarps that are commonly used across the state to cover and protect materials and possessions from the weather are also employed around the country and in many parts of the world, revealing this simple and inexpensive commodity as a universal, versatile, and practical answer to a wide range of situations. The same standardized sheets of plastic that extend protection and ownership beyond the enclosure of the home also extend the territory of humanity and inhabitability when configured as a provisional humanitarian aid in the exigency of natural or manmade disaster.

This piece explores the blue tarp’s universal connotation of temporality and protection to extend interior, architectural space into the exterior landscape, while its removal from banal yard service or terrifying disaster footage attempts to focus attention on its function and dysfunction in the contemporary culture of impermanence and instability. Summer 2006

Polytarp, conduit and fastener, 2′ W x 3′ L Base x 9′ H


1-1=1 is a temporary site-responsive project that triangulates mapping, statistics and human tragedy. This ongoing project responds to the recent rise in fatal street aggressions in Greater Boston. The nonsensical equation, 1-1=1 (one person killing one person equals one crime statistic) is stenciled on the sidewalk at each site of these violent incidents with phosphorescent paint, presenting a subtle visual reminder of the temporality of life and the permanent impact of these acts, while simultaneously marking a vigil for those who are lost. Summer 2007

1-1=1  is part of STENCILS: Public Space and Social Intervention, New England School of Art and Design, Boston, MA; Curators Hiroko Kikuchi and Alice Vogler

Dismantled: Dislocated

Hangers to hold imaginary artifacts with display case and sound piece. Hand-forged metal, fabric, plexi, wood and DVD player and speakers , 24″ H x 30″ L x 16″ W, 2004


Jersey Barrier Bench Attachment

Jersey barriers were originally developed to divide multi-lane highways in New Jersey. These barriers were intended to minimize damage to vehicles, and to prevent them from veering into oncoming traffic and causing fatal, head-on collisions. Today the barriers, which are also known as K-rails, have evolved in both form and function, but the original Jersey barrier design and use are still in high demand. The barriers are used on construction sites, to block off restricted areas, and more recently, to create a safe distance between surface streets and vehicles and sensitive sites and monuments. Because government buildings and historic monuments are now protected in this way, the barriers which restrict vehicle intrusion also render these important civic places unattractive and unfriendly for pedestrians. As what started as a temporary safety measure becomes increasingly more permanent, widespread, and unavoidable, a new way to reinterpret these barriers for the benefit of the pedestrian population has become critical.

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This project is generously funded by the LEF Foundations Public Art, Architecture and Design Grant. Many thanks to the Artists Foundation for sponsorship and support.

Dealey Plaza, Dallas, TX., 1963

This group of paintings retraces John F. Kennedy’s final presidential motorcade ride, starting from Love Field Air Force Base, and ending at Dealey Plaza with his assassination. Using a diagrammatic tourist’s map, the route is abstracted and executed in a series of minimalist paintings.  The use of a strictly limited palette in a various shades of red, white and blue references the conflicting theories about JFK’s death and signifies the episode’s continued symbolic power in the national identity. The series is a set of 10 consecutive paintings which begins at the scale of the county and zooms in to the exact street location of the assassination. The clean abstraction of the maps contrasts with the confused and conflicting accounts of the tragedy, and the careful execution of the paintings suggests a carefully executed plan. 2002-03

Arcylic on canvas, 24 x24″, series of 10

Funerary Tents

Design concepts, 2003

International Motifs

These particular architectural motifs are incorporated into the design of many homes, government and institutional buildings, and cultural centers; they function as privacy screens, load-bearing façades, ventilation devices, security barriers, and staircase guardrails. One of the reasons these designs spread so ubiquitously may have been the U.S. State Department policy during the 1950′s and 1960′s, which suggested that “American embassies visibly reflect the cultural climate of their particular setting,” with the result that, “the clean efficiency of modern American buildings was fused with traditional motifs in such disparate sites as Athens and Karachi”. This hybridization eventually returned to America and spread throughout many different regions of the world. Although these motifs have become common design currency, in certain countries they remain physical markers of a past filled with ideology, naiveté, economic progress and oppression, modernization, and political change. 2005-2007

*Langsner, Jules. The Quest for Ornament in American Architecture, Zodiac 4, pg. 68-72


Proposal: Extension

To dwell is to extend: to inhabit a desire or memory, project it in space, and inscribe it in a landscape. The seminal writing on dwelling, Heidegger’s “Building, Dwelling, Thinking,” explores dwelling as an extension of a person’s very being, either through building edifices or through cultivation of the land. Although the noun, dwelling, has become linked with a structural building, the verb is intertwined with people’s habit of extending their own mortality by establishing, cultivating, and preserving a landscape or place. In short, to dwell, the verb, is about extending a personal experience not only through space, but also in time and memory. 2004

Concept proposal for landscape installation with Marrikka Trotter

The Alamo

This project seeks to explore the significance of a place as a reliquary for an epic of courage. The Alamo has been largely reconstructed from the ruins of a historic Spanish mission to become a park-like tourist attraction. The meticulously manicured landscape which now surrounds the infamous site of death and defeat for such historical figures as Davey Crocket and James Bowie is accented with an artificial stream stocked with colorful koi and innumerable pennies. The stream, with its clear water and brilliant orange fish, provides an accessible distraction and an anticlimax to the stern and silent chapel, with its roped-off displays memorializing the fallen heroes of Texas. The disneyfication of historical sites commodifies and reduces significant historical sites to places of entertainment and activity. The piece is to be projected at a large scale, as if to endow the graceful movements of the fish with deep meaning. 2003

Video projection loop