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Installations https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771605284618-T47TGKBTB21068U1NHF4/ChatGPT+Image+Feb+18%2C+2026+at+01_28_08+PM.png Installations https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771605348772-YDKC3ILXOM256DZHSSFY/ChatGPT+Image+Feb+19%2C+2026+at+12_07_46+PM.png Installations https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771606359407-LF0JQBCKNQE03LPWJ9X3/ChatGPT+Image+Feb+19%2C+2026%2C+01_51_20+PM.png Installations https://www.shaunalanla.com/conceptual daily 0.75 2026-03-25 https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773024963173-XZ4TS5UCFSDVHPLDJ771/Red+Bluff+and+Road+Adjacent+Tracks.png Conceptual 2026 - Red Bluff Red Bluff is an installation inspired by the eroded clay formations of Red Bluff in Mississippi, a landscape where layers of intensely colored earth have been exposed through decades of geological change. Often referred to as the “Grand Canyon of Mississippi,” the site reveals vast surfaces of iron-rich clay whose deep red hue emerges from the mineral composition of the soil itself. The installation translates this landscape into the gallery through a sculptural formation constructed from red clay, allowing the material to function simultaneously as surface, color, and geological record. The clay’s saturated pigment—formed naturally through iron oxidation—gives the work a chromatic intensity that feels both elemental and ancient. Unlike manufactured pigments, the color of the clay exists as an intrinsic property of the earth. Its density, texture, and subtle variations hold traces of environmental processes that have unfolded over long periods of time. In this way the material carries both physical weight and geological memory. By relocating this earth into the architectural space of the gallery, Red Bluff transforms a specific terrain into sculptural form. The work invites viewers to encounter the material presence of the land itself—its color, mineral composition, and slow transformation through erosion—while reflecting on the forces that continue to shape the landscape. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773024963173-XZ4TS5UCFSDVHPLDJ771/Red+Bluff+and+Road+Adjacent+Tracks.png Conceptual 2026 - Red Bluff Red Bluff is an installation inspired by the eroded clay formations of Red Bluff in Mississippi, a landscape where layers of intensely colored earth have been exposed through decades of geological change. Often referred to as the “Grand Canyon of Mississippi,” the site reveals vast surfaces of iron-rich clay whose deep red hue emerges from the mineral composition of the soil itself. The installation translates this landscape into the gallery through a sculptural formation constructed from red clay, allowing the material to function simultaneously as surface, color, and geological record. The clay’s saturated pigment—formed naturally through iron oxidation—gives the work a chromatic intensity that feels both elemental and ancient. Unlike manufactured pigments, the color of the clay exists as an intrinsic property of the earth. Its density, texture, and subtle variations hold traces of environmental processes that have unfolded over long periods of time. In this way the material carries both physical weight and geological memory. By relocating this earth into the architectural space of the gallery, Red Bluff transforms a specific terrain into sculptural form. The work invites viewers to encounter the material presence of the land itself—its color, mineral composition, and slow transformation through erosion—while reflecting on the forces that continue to shape the landscape. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773020671853-TWTWVCH83KJQMJMEARDK/Dawn.png Conceptual 2026 - Dawn Dawn is an immersive installation in which a shallow body of water extends toward a luminous horizon within the architectural space of the gallery. Slow, rhythmic waves travel across the surface before meeting a shoreline of sand where visitors are able to walk and stand at the edge of the water. At the far end of the space, a radiant disk of light gradually emerges along the horizon. Through a programmed sequence, the room transitions from the cool tones of pre-dawn darkness to soft violet and rose hues before warming into the amber glow of early morning. As the light shifts, the moving surface of the water captures and refracts these colors, projecting subtle reflections across the surrounding walls and ceiling. The installation isolates the moment of daybreak—when darkness gives way to light and the horizon begins to reveal itself. By translating this natural phenomenon into the controlled environment of the gallery, Dawn transforms water, light, and atmosphere into primary sculptural elements. Visitors encounter a landscape suspended between night and morning, where the gradual emergence of light unfolds in real time. Through this experience, Dawn reflects on the cyclical rhythms of the natural world and the quiet transitions that mark the beginning of a new day. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773017239089-H9SUEUJJZY60APCUDTEU/Ferrette.png Conceptual 2026 - Field, Ferrette This installation originates from a landscape encountered while cycling through the countryside near Ferrette in Alsace during the colder season before spring. The fields had recently been plowed, leaving the earth dark, wet, and heavy. A narrow stream of runoff water moved quietly through the soil, bordered by small grasses that remained green despite the dormant season. What stood out most was the atmosphere of the place: the smell of freshly turned soil, the cool air, and the quiet presence of the land itself. The installation recreates this moment inside the gallery by transporting a field of plowed earth into the white cube. The floor becomes terrain, marked by agricultural furrows and crossed by a slow channel of water. The scent and physical texture of the soil remain present, allowing the landscape to be experienced not only visually but through the senses. By relocating this environment indoors, the work transforms a fragment of cultivated land into a space for contemplation. The gallery becomes temporary ground, holding the field in a suspended moment before spring. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604055570-V1GWYNOI3YSXHHYPEPLA/Hope.webp Conceptual 2026 https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773060667844-QI8LOKLCFEAT6VLAVYO1/Void+Curved+Wall.png Conceptual 2026 - Void Void is an architectural installation centered on a monumental field of darkness embedded within a curved gallery wall. The form appears to emerge from the architecture itself—an immense black presence whose edges dissolve gradually into the surrounding white surface. Neither painting nor object, the work reads as a threshold where form begins to collapse into absence. As viewers enter the space, the scale of the void slowly destabilizes perception. The wall curves inward toward the dark center while the floor subtly shifts in elevation, creating an almost imperceptible gravitational pull that draws the body forward. Visitors often become aware of this shift only after they begin moving through the room, as the architecture itself seems to lean toward the darkness. The central field absorbs nearly all light, producing a dense optical depth that resists clear measurement. What initially appears as a flat surface gradually suggests immeasurable distance, as if the wall has opened into a region where space folds inward. Within the quiet of the gallery, movement becomes heightened. The body, the architecture, and the void enter into a subtle tension: one advances while the other withdraws. The installation creates the sensation that the room itself is slowly collapsing toward an unseen center. Void transforms the gallery into a perceptual environment in which space, gravity, and orientation are subtly reorganized. Rather than representing emptiness, the work stages an encounter with the limits of perception—where surface, depth, and architecture dissolve into a single unstable field. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773028691201-JRY6I0T3ZHE2C6FEQACR/tau+install+with+red+neon.jpg Conceptual 2026 - Tau Tau is composed of three forms: a red neon line, a black sphere, and a circular distorted mirror. Together they create a minimal landscape of light, reflection, and absence. The work references the tau protein associated with Alzheimer’s disease, whose disruption of neural pathways alters perception, memory, and identity. Each element represents a different condition of the mind: illumination, opacity, and distortion. The red neon suggests a signal or pathway, the black sphere an interior density where information collapses inward, and the mirror a fractured reflection of the self. In the space between these forms, the viewer encounters shifting images of their own body and surroundings. Tau becomes a meditation on the instability of perception and the fragile architecture of memory. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773026306107-TEZVWYUNVNM9JBX6L0G1/image-asset.png Conceptual 2026 - Consumption Consumption is a large-scale sculptural installation composed of numerous identical white figures arranged in precise rows throughout the gallery space. The elongated bodies stand upright in quiet formation, their smooth matte surfaces recalling both classical statuary and the neutral anonymity of mannequins. Where a face would normally appear, each head contains a deep black void. Viewed collectively, the figures form an expansive field of bodies—uniform, silent, and endlessly repeated. Their repetition transforms the gallery into a spatial environment rather than a single sculptural object, encouraging viewers to move among the figures and experience the work from within. The sculptures are fabricated from cast fiberglass and resin with a matte white finish, while the interior void of each head is coated in a light-absorbing black pigment. Through scale, repetition, and restraint, Consumption reflects on systems of production, collective behavior, and the tension between individuality and the structures that shape contemporary life. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773023755868-C6GF5JCFUV2Y96A4J8JI/image-asset.png Conceptual 2026 - Resonance Resonance is an immersive installation that expands my Timeless series into a spatial environment where painting, sculpture, and architecture converge. Flowing white surfaces inspired by the sculptural brushstrokes of my monochromatic works extend across the walls and ceiling, transforming the gallery into a continuous gesture that envelops the viewer. At the center of the space, a circular sunken pool of pale aqua water functions as the installation’s resonant core. Harmonic sound frequencies are audible within the room and transmitted through the pool, causing the water’s surface to ripple and reorganize in response to the shifting vibrations. These movements refract light across the sculpted architecture, projecting evolving patterns that animate the surrounding surfaces. A field of crystalline white sand surrounds the pool, while a continuous curved seating form encourages visitors to remain within the environment and observe its gradual transformation. Subtle air currents move through the space, interacting with the vibrating water and contributing to the installation’s atmospheric dynamics. Through the interplay of sound, water, light, and air, Resonance translates the gestural language of painting into an immersive sensory field, where vibration and reflection produce an ever-changing choreography of movement and light. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604108835-41BAW0IK3Y930D2360ZH/circular.png Conceptual 2026 - Gray Pond Gray Pond is an installation centered around a still body of water contained within the gallery space. The pond is surrounded by pine straw and grasses, recreating the quiet atmosphere of a wooded landscape in the winter. The work is inspired by time spent on a friend’s property in Mississippi, where a small pond sat deep within the trees. In January 2020, on a chilly day, three of us stood quietly at the edge of the water fishing. The ground was covered in wet pine straw and wild grasses, and the smell of the pine straw, the rain, the earth saturated the air. Inside the gallery, the landscape is reduced to its essential elements: water, ground, scent, and sound. The reflective surface of the pond becomes a place of stillness, while the pine straw and grasses bring the texture and smell of the forest indoors. A subtle soundscape of crickets and the wind moving through pine trees fills the space, while gentle currents of air occasionally pass across the surface of the water, causing delicate ripples to form and drift outward. By relocating this environment into the white cube, Gray Pond transforms a fleeting moment in nature into a space of contemplation. The installation invites viewers to experience the quiet presence of water and land, holding a memory of place suspended in time. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604122777-4IEQ6V25P2OM9KSO79BT/ChatGPT+Image+Sep+9%2C+2025%2C+04_13_35+PM.png Conceptual 2026 - Origin (Part I of Hope) Hope is composed of two sculptural forms: Mustard Seed, a pyramid constructed from thousands of mustard seeds, and Origin, a coco de mer seed suspended within a transparent resin cube. Together, the works examine the latent potential contained within seeds—structures that function simultaneously as biological origins and as symbols of transformation. In Mustard Seed, countless individual seeds accumulate to form a monumental geometric structure. The pyramid emphasizes the relationship between the minute and the monumental, where a vast form emerges from the aggregation of nearly imperceptible elements. The work foregrounds the tension between fragility and structural stability, suggesting how collective accumulation can produce unexpected scale. In contrast, Origin isolates a single seed within a clear cubic volume. The coco de mer, one of the largest seeds in the plant world, is suspended in a state of stillness that emphasizes both containment and possibility. The transparency of the resin cube frames the seed as an object of contemplation, while its central placement underscores the idea of origin held in suspension. Together the two works establish a dialogue between multiplicity and singularity, accumulation and containment. By pairing organic material with precise geometric forms, Hope reflects on the generative power embedded in natural structures and the ways in which potential exists across vastly different scales. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604055939-7AB9N3M0HKSTVUTG3NUE/Mustard+Seed.webp Conceptual 2026 - Mustard Seed (Part II of Hope) Hope is composed of two sculptural forms: Mustard Seed, a pyramid constructed from thousands of mustard seeds, and Origin, a coco de mer seed suspended within a transparent resin cube. Together, the works examine the latent potential contained within seeds—structures that function simultaneously as biological origins and as symbols of transformation. In Mustard Seed, countless individual seeds accumulate to form a monumental geometric structure. The pyramid emphasizes the relationship between the minute and the monumental, where a vast form emerges from the aggregation of nearly imperceptible elements. The work foregrounds the tension between fragility and structural stability, suggesting how collective accumulation can produce unexpected scale. In contrast, Origin isolates a single seed within a clear cubic volume. The coco de mer, one of the largest seeds in the plant world, is suspended in a state of stillness that emphasizes both containment and possibility. The transparency of the resin cube frames the seed as an object of contemplation, while its central placement underscores the idea of origin held in suspension. Together the two works establish a dialogue between multiplicity and singularity, accumulation and containment. By pairing organic material with precise geometric forms, Hope reflects on the generative power embedded in natural structures and the ways in which potential exists across vastly different scales. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604246750-N24WL0NR349EQBF3W0Q8/clean+glacial+or+rain+water+spheres+from+Switzerland.png Conceptual 2026 - Emergence (Part III of Hope) Emergence Emergence is a time-based installation composed of suspended spheres of glacial water arranged in a precise grid above a field of soil embedded with mustard seeds. Each sphere slowly releases water as it melts, allowing droplets to fall into the earth below. Over the course of the exhibition, the gradual release of water activates the dormant seeds beneath the surface. Small green shoots begin to appear across the soil, transforming the landscape from bare earth into a field of living growth. The installation unfolds through a quiet sequence of elemental transformations: ice becomes water, water enters the soil, and dormant seeds begin to germinate. What begins as a field of frozen forms slowly dissolves into a living system. By structuring this natural process within a geometric arrangement of spheres, Emergence creates a dialogue between order and organic change. The installation allows viewers to witness a landscape in the process of becoming—where life gradually surfaces from within the earth. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1773019030593-U7YZ01P93A5TQQDEV8OY/ChatGPT+Image+Mar+8%2C+2026%2C+09_15_15+PM.png Conceptual 2026 - Emergence (Part IV of Hope) Emergence Emergence is a time-based installation in which a field of soil embedded with mustard seeds gradually transforms into a landscape of flowering plants over the course of the exhibition. Initially the gallery floor appears as dark, freshly turned earth, but as water is introduced and absorbed into the soil, dormant seeds begin to germinate. Small shoots slowly break through the surface, eventually developing into a dense field of green stems and yellow blossoms. The work unfolds through a natural sequence of growth: seed, sprout, plant, and flower. What begins as bare earth becomes a living environment, allowing viewers to witness the gradual appearance of life within the architectural space of the gallery. By bringing this biological process indoors, Emergence transforms the white cube into a site of cultivation and transformation. The installation reflects on the latent potential contained within seeds and the quiet conditions required for life to surface—revealing growth not as an instantaneous event, but as a slow and visible unfolding over time. https://images.squarespace-cdn.com/content/v1/5b848df489c172bd824d9aa9/1771604250761-UFBM94FMAOTMYJQEW3QH/miniature+resin+pyramid+mustard+seed.jpg Conceptual 2026 - Seed Unit (Part V of Hope) Seed Units are a series of small transparent pyramids cast in resin, each containing a single mustard seed suspended at its center. The seeds used in the sculptures are harvested from the flowering plants produced during the installation Emergence, where mustard seeds embedded in soil gradually germinate and grow over the course of the exhibition. By isolating a single seed within a clear geometric form, the work preserves a moment from this cycle of growth. Each pyramid holds a seed that once emerged from the installation’s living landscape, transforming a biological process into a permanent sculptural object. The works function both as individual sculptures and as fragments of a larger system. Each unit contains the dormant potential for another cycle of growth, linking the objects conceptually back to the living field from which the seeds originated. 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