For the space outside the CEO’s suite, Matthew Steele was commissioned to create two site-specific pieces, sculpting turbines from black walnut wood. Designed to subtly reference the breadth of industries the client operates within, these abstract turbines fulfill the request for artwork that is representational yet not instantly recognizable. Positioned in two niches, they offer a thoughtful and elegant nod to the client’s dynamic engagement across various sectors, enhancing the area with a sense of depth and industry-inspired artistry.

MATTHEW STEELE, Mirrored Turbine, 2022, walnut, copper rod, 23-gauge nails. Site-specific commission.

This carefully curated selection of art was strategically installed across several floors of their corporate tower, transforming each space into a unique narrative that not only enhances the visual appeal of their environment but also solidifies their commitment to supporting local artistic talent and integrating it into their corporate identity. In our pursuit of visual cohesiveness across these diverse spaces, we sought works that resonate with the company’s ethos while providing a continuous visual experience that connects each floor.

This includes Susan Brenner’s series of work, The State of Things, which finds a delicate balance between chaos and order, between anxiety and optimism, between beauty and turmoil, in search of innovation and technological advancement.

Leigh Suggs channels her fascination with the mystery and psychology of sight through cut paper works and large-scale installations. She obscures normal perception, manipulating her materials as if optical illusions. By cutting and weaving intricate patterns. The intangible and inexpressible optical illusions created in each piece lure in the viewer, pulling them into an experience of seeing that is at once immediate and elusive.

Chieko Murasugi’s Roshambo series navigates the spectrum between peace and conflict through abstract collages. Inspired by the game Rock, Paper, Scissors—a metaphor for resolving disputes amicably—she shapes cutouts from her earlier works into forms echoing samurai artifacts. These pieces, marked by burns and tears, repurpose Murasugi’s artistic history to advocate for peace, blending personal and broader narratives within each composition.

Works from Thomas Campbell’s Broken Volum” series are thoughtfully placed within phone rooms, inviting an intimate viewing experience. These pieces, celebrated for their bold forms and complex texture, are designed to be appreciated up close, where the details of their craftsmanship and the interplay of light and shadow can be fully observed.

LEIGH SUGGS, Just the Three of Us, 2020, handcut, acrylic on Yupo paper.