Rock, Mosquito and
Hummingbird: A Prehistory
of Governors Island

Continuous profile core extractions from three
historic sites on Governors Island, NYC; situated in the
subterranean magazine of Fort Jay atop a customized
scaffold system that follows the flight paths of an
Asian Tiger Mosquito and a Ruby-throated Hummingbird through
the vaulted architecture that once housed military ordnances.

Dimensions variable.

Commissioned by the Trust For Governors Island

CW from top left: Plan for Enlargement and Reconstruction of Governor’s Island Military Post, ca. 1907; Island’s original 1813 footprint – red circles indicate 2017 core drilling sites; Fort Jay in 1982, courtesy the National Park Service
CW from top: Rotosonic drill near historic hospital extracting continuous core down to 125ft. – through glacial till, original 19th c. seawall, to bedrock; First section of Manhattan Schist extracted; Our first coring in July, 2017.
Bronze monument permanently installed atop the first drill site’s 90-foot boring at Evans Road. Each of the three sites is indicated by a bronze monument and narrative plaque commemorating the location, depth and date of the borings.
Top: mosquito flight paths based on heat maps done in the lab. Bottom: plan and elevation views of the cores’ layout in Fort Jay’s subterranean vaulted magazine that once housed military ordnances.

Rock, Mosquito, and Hummingbird digs down to the core
of the place we now call Governors Island, to expose the
strata of history of this floating rock at the entrance of NY
Harbor—layers stretching down to a foundation of
Manhattan Schist that predates complex life on earth.

Probing three sites on the northern side of the original
footprint of the island, Brooks bored through the ground
surface to a range of 90 to 125 feet in depth, telling a
story of this ancient place in cobbles, soil, silt, shells, clay
and bedrock. This excavated narrative leads visitors
beyond the dominant military and colonial history of the
site to imagine a landmass that for millions of years
played a part in a larger strategic operation—the origin
of land and life itself.

Situated in the subterranean magazine of historic Fort Jay,
Brooks’ winding sculptural intervention of three long
continuous core samples are assembled in contrasting
trajectories referencing fast time (the flight of a mosquito
and hummingbird) and slow time (the creation of bedrock).

—Excerpted from the exhibition’s press release

Entrance to the subterranean magazine with the beginning of each of the three core samples visible: the top concrete surface of Evans Road, The Hospital sidewalk, and Pershing Hall lot.
Top: detail of the top concrete surface of Evans Road.
 Bottom: detail of the top asphalt surface of the Pershing Hall lot.
Vaulted tunnel with visible original 19th C. seawall; Magazine Court with glacial till installed atop three pathways – the straight line emblematic of geological time, mosquito and hummingbird flight paths emblematic of rapid time.
Bottom: bedrock core sample of Manhattan schist.
Top: Asian Tiger Mosquito flight path entering and exiting the West Powder Magazine. Bottom: Geologic core path entering the North Powder Magazine with sections of Manhattan schist and fossilized marine organisms visible.
Top: Ruby-throated hummingbird flight path terminating at East Powder Magazine. Bottom: Each path terminates with a bronze plaque (consistent with designs throughout the island) narrating the unique characteristics of its trajectory.
Terminating section of the Asian Tiger Mosquito flight path in the Southwest Powder Magazine (with sections of a feldspar-rich igneous rock visible, not known to exist on the island prior to this boring).


Continuous Service
Altered Daily

Disassembled 1976 John Deere 3300 combine harvester
with various components sandblasted, brass-plated, and
gold powder-coated; display vitrines, wood pedestals,
acrylic bonnets, and signage.

Dimensions variable.

Commissioned by the Aldrich Contemporary Art Museum,
Ridgefield, CT

The original 1976 John Deere 3300 series combine harvester and a schematic depicting its deconstruction into every single component part.
The combine components made an asteroid field with no distinctive beginning or end; machine parts were grouped into nine zones that represent nine continuously occurring ecosystem services upon which we rely daily.
The combine was drained of all oil and disassembled methodically into every single component.

Continuous Service Altered Daily is a site-engaged
sculptural array that uses the disassembly of a 1976 John
Deere combine harvester, a beacon of agricultural
technology, as a material and spatial analogy for how we
perceive the ecosystems that surround us. Every last
component of the combine was arranged and displayed,
without a single piece excluded, in an ambling procession
throughout The Aldrich’s grounds and galleries. Each
arrangement was poetically likened to an ecosystem service.

Brooks’s method of presentation offers the machine’s
shell and innards in varying degrees of material
transformation: a) in its weathered condition,
b) sandblasted to remove all evidence of wear and tear,
c) brass plated, and d) powder coated, elevating the
individualized status of the pieces as precious objects.

Within the Museum, each zone is represented by
an engraved metal placard describing the designated
ecosystem service, and every object on display has been
given an interpretive individual label that supports
this correlation. Thus, Brooks subverts the traditional
role of didactics by presenting the viewer with an
interpretative conundrum.

—Excerpt from exhibition publication essay by
curator Amy Smith-Stewart

Combine components ranging from weathered pieces, with the trademark John Deere green still visible, to sandblasted, returning the object back to its material origin.
Reference Images: Constantin Brancusi’s Male Torso (1917) and Bird in Space (1923)
Objects brass-plated with a polished finish are re-presented as precious artifacts or modernist Brancusi-esque sculptures in museological displays.
Installation view from the Aldrich Museum sculpture garden.
Continuous Service Altered Daily coloring book for all ages, produced in collaboration with The Aldrich and local middle school students.


Of Discriminating Artistic
Feeling (The Appropriator,
The Industrialist, and The
Aesthete and Socialite)

Animal cages designed for the two macaws, two pair of
monkeys and owl that James Deering kept at Vizcaya as personal
companions – whose respective designs are emblematic of
Deering’s own character qualities: as an appropriator, an
industrialist, and an aesthete and socialite.

Dimensions variable.

Commissioned by Vizcaya Museum and Gardens

Sketch for The Appropriator
The Appropriator
 Macaw cage made from cypress, mahogany, fish poison, white oak, caning, hardware. In collaboration with Brian Booth.
Detail, The Appropriator

Of Discriminating Artistic Feeling consists of three animal
enclosures displayed throughout Vizcaya, in areas that
might have originally housed James Deering’s birds
and monkeys. Brooks highlights the distinctly nonhuman
presence these residents contributed to the estate, and
how their habitats and sounds added to the overall
immersive experience of Vizcaya.

In addition to housing James Deering’s two macaws,
four monkeys and one owl, the unique cage designs are
each emblematic of Deering himself––one conveying his
identity as an early 20th Century industrialist, one that
regards his disposition as an aesthete and socialite, and the
third which enacts his delectation as an appropriator of
many architectural and artistic styles. The last was made
in collaboration with artist and woodworker of South
Florida renown, Brian Booth.

The cages, as if succumbing to their own affectations
overwrought with their respective design motifs, are
ultimately rendered uninhabitable due to their very own
sensory overload.

—Excerpted from the Vizcaya Museum’s press release

Paul Chalfin’s 1919 architectural drawings of unrealized cage designs for James Deering.
The Aesthete and Socialite
 Monkey habitat of milled aluminum based on Paul Chalfin’s 1919 architectural drawings of unrealized cage designs for James Deering, stainless steel hardware.
Detail, The Aesthete and the Socialite
The Industrialist
 Owl cage made from galvanized HVAC ducts and aluminum pallet with brass, steel and copper hardware
Detail, The Industrialist


Lonely Loricariidae

Glass fish tanks, pumps, filters, aluminum stadium seating

15 x 10 x 6 feet

Winning proposal for Art Basel
Statements sector; Basel, Switzerland

An undescribed species of Loricariidae pulled from under a rock ledge in about 3 feet of water in the Amazon, by Nathan Lujan PhD., September 2013. Xingu, Brazil
Phylogenetic tree showing all known Loricariidae species along with a map illustrating their natural range (shaded area).
“L-Number” list indicating all unknown Loricariidae species that circulate through the European aquarium trade and a map illustrating their unregulated supply routes for exploration to Europe.

Lonely Loricariidae is a sculptural installation that brings together five wild-caught fish from the Amazon Basin whose identities hang between two conflicting knowledge groups: the scientific study and taxonomy of Loricariidae, and the commodification of Loricariidae in the ornamental aquarium trade.

Of the 100,000 or more Loricariidae fish that are both legally and illegally exported each year from South America, there are dozens of new species unknown to science that enter the flow of this international aquarium trade. Once beyond the border of their country of origin, the fish become legal commodities within the market and are arbitrarily assigned an identifying “L”number since they lack a species name.

For Art Basel Statements, David Brooks has positioned these living creatures as spectators on a set of aluminum sports bleachers. Here these fish, who have yet to be studied and named by scientists, become active observers rather than simply the observed.

—Excerpted from Art Basel Statements press release

Installation views and details
T-shirts were made and given away in lieu of a press release or publication. The small, entirely illegible print palpably illustrates how many species of the Loricariidae fish are sold in the market but still unknown to science.


Case Study:
Weld County, CO

3D scans and FDM 3D prints from
corn-based plastic mixed with wood fibers.

Dimensions variable.

Commissioned by the Gregory Allicar Museum of Art at
Colorado State University, Fort Collins, CO

Case Study: Weld County, CO would not have been possible
without the discerning eyes of Emily Boutilier Sullivan and
Kyle Singer and their photographic material and keen efforts
in scanning the houses used here as case studies.

Aerial view of Weld County, CO with active fracking well pads dotting the landscape, interwoven amongst a burgeoning suburban sprawl, with off-gassing well pads as close as 48 feet to occupied residences.
Pedestrian views of Weld County, CO highlighting the close proximity of oil and gas infrastructure to occupied residential neighborhoods.
Image scans from a pedestrian’s viewpoint. This restricted scanning process presented anomalies within the modeling program forcing the software to unpredictably supplement or omit information to assemble 3D models.

Weld County arguably has the densest number of active
fracking wells in the country. A map illustrating the
underground network of active gas extraction lines
reveals a sprawling, tightly-knit mesh of export pipelines
sitting just below the playgrounds, carpeted living
rooms and manicured front lawns. Here, the domestic
and the everyday come in intimate proximity to the
inhuman-scaled industries of resource extraction.

Case Study: Weld County, CO consists of re-assembled 3D
prints of real homes, all lying within one hundred feet of
active fracking well pads. Image scans were taken only from
what was observable from a pedestrian’s point of view,
from roads or sidewalks. This restricted approach to the
scanning process presented anomalies within the modeling
program. When the scans were assembled to form a 3D
model, the software unpredictably supplemented missing
information or omitted existing information.

Such deformations make evident the disconnect between
our actions and how we perceive them. This exhibition
looks at how we normalize our impact on the natural world
and the perceived consequences to our own health.

—Excerpted from the artist’s statement

Installation view of re-assembled wood-fibrous 3D prints of real homes all lying within one hundred feet of active fracking well pads.
Coal Mine Street, 2017 FDM 3D print from corn-based plastic with wood fibers, bar clamps, steel sawhorses, hardware.
Scenic Avenue, 2017 FDM 3D print from corn-based plastic with wood fibers, bar clamps, steel sawhorses, hardware.
Scenic Avenue, 2017
Twilight Avenue, 2017 FDM 3D print from corn-based plastic with wood fibers, bar clamps, steel sawhorses, hardware.
Twilight Avenue, 2017.
Mountain Shadows Boulevard and Cimmarron Street (well pad), 2017 FDM 3D print from corn-based plastic with wood fibers, bar clamps, steel sawhorses, hardware.
Ebony Street, 2017 FDM 3D print from corn-based plastic with wood fibers, bar clamps, steel sawhorses, hardware.

2011 – 2012

Desert Rooftops

Asphalt shingled rooftops, wood,
vinyl siding, metal interpretive signs
16 x 92 x 54 feet

Commissioned by the Art Production Fund
for the Last Lot at Times Square, 46th and 8th Ave. NYC,
November 2011–February 2012

Desert Rooftops is a 5,000-square-foot sculpture that is
an undulating configuration of multiple asphalt-shingled
rooftops similar to those on suburban developments,
McMansions and strip malls conjoined to resemble a roll-
ing, dune-like landscape. 

The piece examines issues of the natural and built lands-
cape by comparing the monoculture that arises from
unchecked suburban and urban sprawl with that of an
over-cultivated landscape—creating a work that is
“picturesque, familiar and simultaneously foreboding.” 

Brooks’ sculptural approach gives a nod to Robert
Smithson’s earthworks and Gordon Matta-Clark’s build-
ing cuts while offering a much needed sense of humor to
help digest today’s somber environmental issues.

—Excerpted from the Art Production Fund press release

Detail: interpretive signage, correlating processes of suburban sprawl with processes of desertification.
Stress Tests: Un-sites No. 1-2 & 3-5 (Homage to Gordon.) 2013 Extracted sections of the Desert Rooftops installation, cable, hardware. Dimensions variable. 2014 installation at the Tang Museum, Saratoga Springs, NY


A Proverbial
Machine in the Garden

Dynahoe tractor, concrete, earth, landscape, steel grating

66 x 28 x 12 feet

Storm King Art Center, NY

Reference: George Inness. The Lackawanna Valley. c. 1855
Preparatory drawings

The notion of a ‘machine in the garden’ is a cultural symbol that underlies the tension between the pastoral ideal and the rapid and sweeping transformations wrought by industrialized technology. Brooks’s work considers this on- going conflicted relationship between the individual and the built and natural environment.

Speaking to Storm King’s past—as an agricultural site— and present—as a carefully sculpted pastoral environment— A Proverbial Machine in the Garden addresses questions of how humans use, consume, and perceive of the natural world.

Brooks’s piece is subterranean, and invisible from afar. It is designed to be experienced—as a natural landscape or topography would be—by viewers walking across it.

—Excerpted from the Storm King Art Center press release

Photographs by Jerry L. Thompson
Photograph by Jerry L. Thompson
The Storm King museum building and the sculpture itself sit atop manmade hills. Photographs by Jerry L. Thompson
Interpretive signage with aerial image of Storm King grounds from 1957, when it was still an active farm.


Repositioned Core

Rock core extracted from 5285 feet,
metal scaffolding, modified architecture.

28 x 92 x 18 feet

Commissioned by the Visual Arts Center
at the University of Texas at Austin

Core extractions in situ

Fossil fuel consumption produces numerous unexpected results, many of them troubling. When a petroleum company prospects for oil, an extraction of earth, called a core, is routinely done to determine the presence of hydrocarbons in that given area.

However costly and irreplaceable the cores might be, oil companies have no reason to keep them once the viability of a particular well or reservoir has been established. The University of Texas at Austin, however, has amassed a vast repository of these oil industry cast-offs over decades.

Before they were excavated, the stories buried within these stones lay dormant for 250 million years. Here this history is reactivated as the core transects the built environment of the gallery before plunging back to its subterranean origin.
—Excerpted from the installation’s wall text

Core being prepared and installed atop scaffolding in exhibition space
Installation views and details


An Archive
within an Archive
within an Archive

Artist project for Issue no. 53 of Cabinet Magazine

Later reprinted as a take-away in news stands as part of the exhibition
at the Visual Arts Center, at the University of Texas at Austin

At the Austin Core Research Center (CRC) of the University of Texas there is a hangar-sized warehouse containing an archive of more than two million core samples. The stories buried within these stones laid dormant for 250 million years before excavation.

As samples were originally collected and shuttled from one lab to another in glass vials, there was a risk that the movement would agitate the sediments and break the vials. One obvious solution to the problem of excessive rattling was to simply stuff the day’s newspaper into each drawer.

By doing so, a third archive was incidentally amassed, offering accounts of the topical and quotidian goings-on of the day. Spanning news between the wars and after, this archive also laid dormant until a group of art students from the University of Texas at Austin accompanied me in February 2014 to reawaken these artifacts of a bygone era.

—Excerpted from the artist’s text in Cabinet Magazine

2010 – 2011

Preserved Forest

Nursery-grown trees, earth, concrete.
Dimensions variable

Installation at MoMA PS1, NYC

Photograph by Cathy Carver
Photograph by Cathy Carver

One of the more unusual sights [during installations for
MoMA P.S. 1’s Greater New York 2010 show] was a
cement mixer outside. It was not there to smooth out the
sidewalk or resurface P.S. 1’s courtyard, but to put the
finishing touches on “Forest Preserved,” by the 34-year
old artist David Brooks.

Mr. Brooks stood in P.S. 1’s 26-foot-high duplex gallery,
where concrete had just been dumped, pumped, and
sprayed over a forest of trees trucked in from nurseries in
Florida…The trees had been arranged to approximate
an Amazonian rain forest.

As the [cement] mixture was drying—and delicately
encrusting the trees—the leaves began wilting, cast in
a gray haze of heavy concrete…Mr. Brooks added that
the work “will change every day as it decomposes.”

—Excerpted from The New York Times, “A Petrified
Forest” by Carol Vogel, May 20, 2010

Preparatory drawing
| Photograph by Cathy Carver
Photograph by Cathy Carver
Photograph by Cathy Carver
Photograph by Cathy Carver
View of new canopy tree growth after one year of the installation


Still Life with
Stampede and Guano

Concrete animal forms that lived
with wild birds, wild seabird guano, varnish.
Dimensions Variable

Commissioned by the Miami Art Museum,
March–July 2011

Installation view

There is an inherent irony to these concrete faux beasts, whose ferocious poses stand frozen, tamed and shackled as the ultra-domestic ornaments of their masters’ lawns.

Brooks placed these sculptures throughout the grounds of the Florida Keys Wild Bird Center to “live with” seabirds harmed as a result of contact with humans. Over time, the sculptures acquired a quasi-painterly patina of guano such that the simulated wild animals bear the indexical traces of real ones.

The urgent, overall implication of this piece is of human- kind’s artificial sense of separation from nature. This sense can blind us to nature’s actual presence around us, including the wildlife that struggles to survive amid our urban environments.

—Excerpted from the exhibition wall text

Documentation of sculptures while installed at the Florida Keys Wild Bird Center, to live with rehabilitating wild seabirds and acquire a patina of guano on the faux bronze surface.
(Above) Documentation of sculptures installed at the Florida Keys Wild Bird Center to live with rehabilitating wild birds. (Below) Installation detail
Installation view
Installation Detail


Myopic Wall Composition
(with chainsaw-cut wood
found at Walden Pond)

Chainsaw-cut wood found in historic
Walden Woods, MDF, paint, metal scaffold

Footprint dimensions variable; height 9’

Installation at deCordova Museum and
Sculpture Park, Lincoln, MA
October 2014 – April 2015

Walden Pond, October 2014; Northwest corner of Walden Pond with floating chainsaw-cut samples later collected.
(Top) Walden Pond State Reservation Plaque (Bottom) Chainsaw cut wood under rock pile at Walden

This piece contains chainsaw-cut and hand-hewn
wood collected from Walden Pond State Reservation
and historic Walden Woods. Thus, what appears to
be a “natural” object is in fact an object formed by culture.
Much like the “wilds” of Thoreau, the wilderness is
not a place void of culture, but intimately intertwined
with it, although not always visibly so.

These irregular wooden forms are reduced to two-
dimensional surfaces as they are embedded into museum-
style walls. Yet the “back” of the walls reveal the elaborate
scaffolding needed to support their precise locations,
alluding to a rich world made invisible.

The installation proposes a myopic or shortsighted
perception of the natural world. This is indicative of a
paradoxical sentimentality that simultaneously values
land conservation, often fueled by texts like Walden,
while jeopardizing the very same environment through
rampant consumerism.

—Excerpted from the artist’s statement

Installation views and details


Trophic Pyramids
(and their Producers)

Casts of steps from homes destroyed
in Hurricane Katrina, New Orleans.
Concrete, metal
84 x 144 x 72 inches

Schematic collage + print edition of documented steps from homes destroyed in Hurricane Katrina, New Orleans, and a trophic pyramid illustrating the hierarchies within a food chain. 32 x 24 inches, each

All that remains of hundreds of previously existing New Orleans wooden Creole cottages are the front steps leading up to the air-space where the house once was. The steps are steeped with formidable histories — the residual conglomeration of generations of events and hierarchies that shaped the environment as the environment has shaped the people.

This installation consists of various front steps that I documented in several of the evacuated neighborhoods of New Orleans. Each set of idiosyncratic steps becomes a readymade sculpture, or monument, that acts as a beacon for this convoluted social and natural history.

The steps’ pyramidal form evokes a “trophic pyramid,” a graphic form used to represent energy’s movement through an ecosystem. This project likens the hierarchy of an ecosystem’s flow, satirically, to the social history of New Orleans and its own dubious and unrelenting hierarchies.

—Excerpted from the artist’s project statement

2009 – 2015

Gap Ecology
(Three Still Lives with
Cherry Picker and Palms)

60’ aerial boom lift, Majesty palms, weather.
Dimensions Variable

Installation at Fischer Landau Center, NYC, 2009
Socrates Sculpture Park, NYC, 2013
Nuit Blanche, Toronto, 2014

And an unbuilt commissioned proposal for the
Public Art Fund, NY 
in which an armada of
cherry pickers with palms were to hover over
dormant construction sites throughout NYC.

Installation at Fischer Landau Center
Installation at Fischer Landau Center

In the Amazon, storms often result in the felling of
towering canopy trees, ripping holes in the forest
canopy and forming a “light gap.” This gap is quickly
colonized by opportunistic species that capitalize on
such improvisational events for rapid growth.

This sculptural intervention makes an analogy between
this phenomenon typical of rainforest ecology and
that of urban light gaps in our sprawling built environ-
ments—from dormant construction sites, rapid devel-
opment, or natural disasters. These aerial boom lifts, or
cherry pickers, behave as active and opportunistic
species in the built environment.

—Excerpted from the artist’s project description

Gap Ecology: Still Life with Cherry Picker and Palms. 2009
Five 60’ aerial boom lift, Majesty palms, Areca palms, weather.
Installation at Socrates Sculpture Park, 2013 on the occasion of Marfa Dialogues/NY
Installation along Queens Street on the occasion of Nuit Blanche, Toronto, 2014
Installation along Queens Street on the occasion of Nuit Blanche, Toronto, 2014


Crates, Blocks, and Mammals

Installation at Art Los Angeles Contemporary
under the auspices of American Contemporary, NY

Installation View

David Brooks’ precariously stacked compositions are determined by the amount of material needed to mimic the exact weight of the animals they depict—the most critically endangered mammals on Earth. These sculptures will outlive the species they reference, rendering them veritable monuments to the unknown, and the soon to be lost.

Like caged exotic animals on display—or readied for export—the sculptures are shown partially crated. The species name, average adult weight, and a graphic silhouette are stamped on the exterior of each crate.

The works rely on the crate as a support structure, as it provides a sense of balance and structural scaffold for the weighty materials it contains. This strain, between chaos and order, is ever present in Brooks’ work, which speaks to the energy exerted in the ongoing main-tenance of the
human relationship with the natural world.

—Excerpted from Crates, Blocks, and Mammals
press release, 2014

Marble Blocks – 80lbs. – or Chaocoan Peccary (Bolivia.) 2014 80 pounds of Danby marble, stainless steel pins, MDF + wood crate, stencil paint, hardware, packing material. 27 x 33 x 18 inches
Aluminum Blocks – 331lbs. – or Baird’s Tapir (Central and South America.) 2014. 331 pounds of aluminum, stainless steel pins, wood slat crate, stencil paint, packing material, hardware. 54 x 36 x 30 inches
Details of: Aluminum Blocks – 331lbs. – or Baird’s Tapir (Central and South America.)
Marble Blocks – 70lbs. – or Hairy-nosed Wombat (Australia.) 2014 70 pounds of Verde Antique marble, stainless steel pins, wood crate, stencil paint, Tyvek, hardware, packing material. 24 x 28 x 18 inches
Aluminum Blocks – 127lbs. – or Yangtze River Dolphin (China.) 2014 127 pounds of aluminum, stainless steel pins, wood slat crate, stencil paint, hardware. 28 x 34 x 18 inches
Marble Blocks – 218lbs. – or Sumatran Orangutan (Indonesia.) 2014 218 pounds of Verde Antique marble, stainless steel pins, wood crate, stencil paint, Tyvek, hardware, packing material. 27 x 35 x 24 inches
Aluminum Blocks – 352lbs. – or Pygmy Hippopotamus (West Africa.) 2014 352 pounds of aluminum, stainless steel pins, wood slat crate, stencil paint, hardware. 39 x 60 x 34 inches
Marble Blocks – 280lbs. – or South China Tiger (China.) 2014 280 pounds of Danby marble, stainless steel pins, MDO + wood crate, stencil paint, hardware, packing material. 30 x 54 x 25 inches

2009 – 2010

Naturae Vulgaris

Concrete sidewalk, ficus benjamina,
metal gantry cranes, hoisting equipment.
144 x 744 x 108 inches (approx.)

Installation at Museum 52, NY

Schematic collages
Fabrication documentation

The production of cement is one of the primary producers of carbon dioxide, producing nearly one tenth of worldwide CO2 emissions per year. If one considers how harmful the production and application of concrete is to the larger body of our environment, one would need to be psychotic to live in approval of its use.

From a macroscopic perspective, it is nothing short of suicidal. And yet it is the very physical foundation of all extant urban infrastructures; it is the material of our dwelling, and sustains our way of life.

With some poetic license, one could see concrete as indicative of a larger existential impasse, highlighting the colossal scale of energy we exert to maintain such a delusional image of normalcy.

—Artist’s quote excerpted from Museum 52 press release


Notes on Structure

Imbroglios, heaps, and myopias

Installation at American Contemporary, NYC.
March–April 2012

A Phylogenetic Tree (from Homo sapiens to Megalops atlanticus). 2012
Cuts on printed Dibond panel
54 x 42 inches

In Notes On Structure, Brooks creates a sculptural
representation of a phylogenetic tree — a branching
diagram that indicates evolutionary relationships between
biological entities, and their common ancestors. The
phylogenetic tree here traces the evolutionary paths of
humans and one of the world’s most sought after game
fish — the Atlantic Tarpon — a fish with enigmatic
migration routes, whose ancestors were some of the
earliest predatory fish, and is able to breathe oxygen
through an air bladder rather than gills.

The diagram is disrupted by the approximation of
a school of fish writhing through it, defying their
classification on the branching tree.

The notions of taxonomy and structure, by definition,
are only able to provide a single perspective of the state
of things. The wall constructions lining the back gallery
function as portraits of such a conflicted notion of
perception. The shortcomings in seeking the essence
of things becomes subject matter and medium as Brooks
capitalizes on these imbroglios to infuse process,
motion, and adaptability back into the static structures
that apparently define the world around us.

—Excerpted from the American Contemporary
press release

Imbroglios (a phylogenetic tree, from Homo Sapiens to Megalops atlanticus). 2012
Fiberglass, gelcoat, MDF, pencil, hardware.
5 x 12 x 21 feet
Installation view
Myopic Wall Composition (with twisted tree felled by thunderstorm and yellow-bellied sapsucker holes). 2012. MDF, wood, paint, metal scaffold
122 x 31.5 x 28 inches
Myopic Wall Composition (with Pennsylvania Bluestone). 2012 MDF, Pennsylvania Bluestone, paint, metal scaffold.
81.5 x 57 x 65 inches
Detail of lightning-struck log
Detail of yellow-bellied sapsucker holes (woodpecker)
Heap (with bobcat, coyote, and I-beam). 2012 Taxidermy animal forms, wood, industrial shrink-wrap, metal.
98 x 24 x 29 inches

 2015 – 2016

A Day in the Life
of the Coral
(As Seen at Brewster Reef)

Imagery taken during three days at the
reef, wood billboard construction, hardware.
12 x 40 x 40 feet

On the occasion of Fringe Projects 2015,
Museum Park, Miami, FL
September 2015–January 2016

Thomas Gainsborough, "A Landscape in Suffolk," 1748

On the occasion of this public commission Brooks spent a consecutive number of days documenting portions of the barrier and patch reefs in close proximity to Museum Park in downtown Miami. Through the use of large layered billboards that post the daily goings-on of the reefs Brooks visited, he treats the billboard as a journalistic device.

Here the monumentally-scaled imagery depicts evidence
of coral’s now common bleaching phases due to deterioration in water quality and intensified warming—alongside their formal beauty and dwindling biodiversity from human impact.

The billboards might appear to the viewer as incomplete
or damaged, as large circular areas of the structure have been extracted. The deleterious impact the circular cutouts are analogous to the stresses society imposes upon other life within our environs.

—Excerpted from interpretive sign text

Below: Location of three billboards with sight lines.
Onsite installation in Museum Park, Miami, FL
(Below) Detail looking through all three billboards towards Brewster Reef, where the billboard images were taken


Daniel Maier-Reimer, walk
following the Florence
city boundary line, presented
by David Brooks

Aluminum, seamless nettle fabric, hardware,
framed photograph of the outskirts of Florence.

Dimensions variable

Clages, Cologne, Germany.
January 25 to March 8, 2013

Daniel Maier-Reimer roams unknown, mostly uninhabited territories in urban and rural areas along cartographically-fixed outlines of cities and landscapes. His photographs capture what was seen only as a representation of the subjective experience of space and time.

The photographs taken during a walk along the Florence city limits present a close-up view of a landscape: a place that could be everywhere and nowhere.

For his solo exhibition at Clages, Daniel Maier-Reimer invited American artist David Brooks to develop a vis-
ualization of this hike. The space within a space is man-
ifested as a walk-in structure; it is only once we are inside that we notice its contours follow the same path as those marked on the map. It is only inside of it that we can decipher the path taken.

—Excerpted from Vanessa Joan Müller, Kunsthalle Vienna

Photograph by Anne Pöhlmann
Photograph by Anne Pöhlmann
Photograph by Anne Pöhlmann
Photograph by Anne Pöhlmann
Exterior view of installation at Clages, Cologne, Germany. Photograph by Anne Pöhlmann


Pareidolia: When Flags Become Clouds
and Clouds Become Fish

Dye sublimation print on jet-flag fabric, grommets.

Dimensions variable (individual flags 72 x 120”)

Installation at Nouveau Musée National de Monaco

Pareidolia is a psychological phenomenon by which an illusion involving a vague image is perceived as something clear and distinct (e.g. cloud forms in the shape of fish). The natural world has long been the incessant receiver of pareidolic vision—a backdrop for projecting our ever changing desires and fears. Despite the claims of science, according to our hardwired pareidolic tendencies "nature" can only be known as a reflection of our personal needs, consumptions and ideas.

—Excerpted from the artist’s project statement, 2011

Installation view from museum gardens
Installation view from rooftop
Installation view from upper street level


Assisted Boardwalk
(with American Lindens,
Black Honey Locusts,
Silver Maple, River Birch
and Willows)

Reclaimed lumber, hardware, existing trees
Dimensions variable

Installation at Socrates Sculpture Park, Long Island City, NY

Drawing for Assisted Boardwalk (with American Lindens, Black Honey Locusts, Silver Maple, River Birch and Willows). 2009


Quick Millions

Metal structural studs, gypsum board, flood lights,
electrical wiring, paint, modified architecture.

Dimensions variable 

Installation at Museum 52, NYC.

Aerial view of the Urban Development Boundary Line separating Miami from the Florida Everglades
Schematic view of installation layout in Museum 52

Brooks’ project dramatically re-figures the sobering white
space into organic chaos. Dozens of sheetrock columns
virally sprout from the floor like forest sprawl. For Brooks,
quick millions are found in abrupt ecological change and
land development, in population growth, the bar-chart
ascent of office towers and the arterial thrusts of roads
through the Amazon. From global markets to microbes,
Brooks draws from a nebulous tangle where mergers
and acquisitions analogously shape the natural world.

Hastily constructed columns at varying degrees of
completion are partially demolished, torn open with
floodlights ablaze in the rubble. The bulbs simultaneously
destroy, adorn and illuminate, leaving the rubble
saturated with light, imprinting traces of the work on
the retinal memory…inciting ghosts of evolutionary
millennia razed in our clear-cut forests, and the ensuing
ruins of buildings built on speculation.

Quick Millions employs the dynamic of entropy, as
explored by artist Robert Smithson, from whose 1965
sculpture Brooks takes his title. But whereas Smithson
conceived of entropic form on a geological time-scale,
Brooks accelerates the notion and treats entropy on
a viscerally human time-scale, of years, months, days
and minutes.

—Excerpt from exhibition press release

Installation View


Picnic Grove

Douglas fir, hardware, Silver birch trees.
Dimensions Variable

Installation at Cass Sculpture Foundation,
West Sussex, UK

(Below) Existing site indicating newly constructed picnic tables, chairs and planted saplings

Picnic Grove is a work built out of custom-made
outdoor wooden furniture and spread over the entire
18,000m of the Deer Hut Field at Cass Sculpture

The 34 picnic tables and garden chairs are construct-
ed in an interlocking manner, with trees heedlessly
growing through the furniture like opportunistic
weeds. As the picnic tables traverse the field and
impose themselves on the landscape, the trees
perforate the structures like a verdant grove, creating
ambiguity as to which is dominant.

While visitors are encouraged to utilize the install-
ation for communal enjoyment, they will also find
themselves negotiating the playful interruptions
created by the erratic placement of the trees, fostering
a similar sense of ambiguity as to who is imposing on

—Excerpted from the Cass Sculpture Foundation
press release


Sketch of a Blue Whale
(Enlarged to Scale:
23 meters, 154 tons)

Polished stainless steel tubing,
used galvanized steel scaffolding, hardware
18,104 x 18,108 x 3000 mm

Installation at Cass Sculpture Foundation,
West Sussex, UK

Comparison between whale scale and human scale
Measuring over 110’ long, Blue Whales are the largest animals to have ever roamed the face of the planet

In the earth’s 3 billion year history of cellular life, the blue whale is the largest animal ever known to have roamed its surface, and it coexists with us still to this day.The whale is a scale of life that competes with the scale of our own infrastructures.

Considering our ability to lord dominion over all life, the blue whale, in its dwarfing scale, places our individual relationship to the natural environment back into a perspective of humbled celebration.

In this piece, the confluence of different scales simul-
taneously (between the hand drawn, the sculptural, and the monumental size of a real blue whale, as well as the surrounding landscape) points to an immediate relationship between the viewers themselves and the reality of the natural world just beyond our front doors.

—Excerpted from the Cass Sculpture Foundation
press release

(Top) Sketch of a blue whale – 5x7 inches (Bottom) Sketch enlarged schematically to 23 meters, the full size of an average adult
Stainless steel tubing, used for fencing and railing around pools and nautical equipment. This 3” diameter polished stainless steel tubing is used to render the outline of the sketch of a blue whale.


Terra Incognita—Rainforest Canopy
(Cronos Version)

Partially Buried Boardwalk
(with Observation Tower)

Cargo containers, tropical canopy trees, irrigation system.
Dimensions Variable

Reclaimed lumber, gravel, hardware.
Dimensions Variable

Installation at Sculpture Center

Terra Incognita (Forest Canopy). 2010. Schematic collage, paper, adhesive. 11” x 17”
Installation view at Sculpture Center, NY
(Background) Terra Incognita Rainforest Canopy (Cronos version)
(Foreground) Partially Buried Boardwalk (with Observation Tower). 2010

2007 – Present

Other Selected Works

Entangled Image (Short-beaked common dolphins). 2013
Ink jet print mounted on sintra, steel beams
82 x 60 x 42 inches
Entangled Image (Parasitic jaeger). 2014
Ink jet print mounted on sintra, steel beams
84 x 30 x 36 inches
Entangled Image (Humpback whale). 2013
Ink jet print mounted on sintra, steel beams
82 x 52 x 44 inches
Entangled Image (Elegant terns). 2014
Ink jet print mounted on sintra, steel beams
72 x 54 x 36 inches
Ecuador and its Dogs by David Brooks
Ecuador and its Dogs by David Brooks
Myopic Wall Composition (with reclaimed mantel and bluestone). 2013
MDF, wood, paint, bluestone, metal scaffold
70 x 55 x 24 inches
Myopic Wall Composition (with reclaimed mantel and bluestone) 2013
Posterior view
Turle stop. 2010
Perlite, lime, sand, turtle shell
32 x 20 x 7 inches
InterOceanica Highway, Peru>Brazil. 2011 Images from a journey across the InterOceanic highway construction – the world’s largest road building project linking the Pacific with the Atlantic by traversing the Amazon Basin.
InterOceanica Highway, Peru>Brazil. 2011. Dye sublimation prints on vinyl, grommets, wood crates shipped over the Atlantic Ocean, hardware, paint. Dimensions variable. Installation in Bad Tölz, Germany
Adjustable Sculpture with Sailfish. 2011 Aluminum ladder, wood, clamps, altered sailfish mount, enamel paint 96 x 108 x 84 inches
Adjustable Sculpture with Sailfish. 2011
Three Dune Formations. 2012 Wood, asphalt shingles, aluminum drip edge, hardware 48 x 112 x 56.5 inches
Balcony with Landscape and View. 2010 Steel, oak tree form regional countryside, sisal rope, hardware 114 x 54 x 48 inches
Balcony with Landscape and View. 2010
Balcony with Landscape and View. 2010
Upside Down Boardwalk. 2009 Pressure treated lumber, hardware 96 x 65 x 120 inches
Upside Down Boardwalk. 2009
Adaptable Boardwalk (with three genetic drifts). 2011 Lumber, hardware, forklifts, London Plantetrees 18 x 90 x 60 feet (approx.) Installation at Bold Tendencies 5, London
Adaptable Boardwalk (with three genetic drifts). 2011
Adaptable Boardwalk (with three genetic drifts). 2011
Unfinished Section of Sidewalk with Palms. 2008 Concrete, rebar and palms
18 x 30 x 24 inches
Cut, Clear, Pave, Sell (repeat). 2010 De-commissioned telephone poles, forklift, ratcheting belt clamps 10 x 6 x 11.5 feet. Installation at Tanya Bonakdar Gallery
Cut, Clear, Pave, Sell (repeat). 2010
Cut, Clear, Pave, Sell (repeat). 2010
Residual Sculpture with Tracks. 2011 Lightweight concrete, perlite, wire lath
6.5 x 140 x 68 inches. Residual performative sculpture.
Graphite Dolmen Site. 2007 Siliciclistic rock, graphite, wax 66 x 42 x 54 inches. Installation at D’Amelio Terras Gallery
Graphite Dolmen Site. 2007
Pond House Pond. 2009 – 2012 A project to design and build a pond and amphibious pond house; in collaboration with Mark Dion, J. Morgan Puett, Mark Thomann, and Natalie Jeremijenko. Mildred’s Lane Historical Society, Beach Lake, PA
Six Dozen Eggs, Concrete, Rebar. 2009 Six dozen eggs, concrete, rebar 32 x 18 x 18 inches


Field Work

Biodiversity Survey of the Western
Guiana Shield: Part III of a Three-Part
Survey of South American Highlands:
Guyana, 2016

Aquatic Biodiversity Survey of
the Southern Ecuadorian Amazon: Ecuador, 2012

Tropical Audubon Society, Annual Census Counts
and The North American Migration Count,
Florida Everglades and Florida Keys:
1999 – Present

Aquatic Biodiversity Survey of the
Southern Peruvian Amazon: Peru, 2010

Planetary Biodiversity Inventory:
All Catfish Species Inventory:
Amazon Basin Expedition, 2005

Bonefish and Tarpon Conservation Research Program,
University of Miami Rosenstiel
School of Marine and Atmospheric Science:
Miami, FL, 2005 – 2014

Paso Portachuelo Annual Bird Migration
Banding Project, under the auspices of the
University of Venezuela Maracay: Henri Pittier
National Park, Venezuela, 1997

For the last 19 years I have spent a great deal of time
doing fieldwork with ichthyologists, ornithologists
and conservation biologists in South Florida (Florida
Keys and Everglades) and South America (Amazon
Basin, Guyana Shield, and Andean river drainages).

I see conservation biologists as some of the most
avant-garde thinkers working in any field today,
and especially generative for reshaping platforms
of artistic dialogue.

Conservation biology—the science of maintaining
biological diversity—is an interdisciplinary science
which uses a hybrid method of analysis incorporating
history, infrastructure, aesthetics, tactile facts, and
social responsibilities as common grounds within
the landscape. Much like conservation biology, my
project-based work investigates how cultural concerns
cannot be divorced from the natural world, while
also questioning the terms under which nature is
perceived and utilized. Conservation biology’s myriad
subjects it must navigate mirrors my own methods of
weaving formal devices, material conventions, and
site limitations with the urgency of issues that emanate
from the impacts of a global capitalist system.

Biodiversity Survey of the Western Guiana Shield: Part III of a Three-Part Survey of South American Highlands Guyana, 2016
Biodiversity Survey of the Western Guiana Shield: Part III of a Three-Part Survey of South American Highlands Guyana, 2016
Florida Keys – Fish and Bird Census
Tropical Audubon Society, Annual Census Counts: Florida Everglades, 1999 – Present
Florida Keys and Everglades National Park census
Aquatic Biodiversity Survey of the Southern Peruvian Amazon Peru, 2010
(Top) Planetary Biodiversity Inventory: All Catfish Species Inventory, Amazon Basin Expedition: Venezuela 2005 (Bottom) Aquatic Biodiversity Survey of the Southern Peruvian Amazon: Peru, 2010
(Top) Biodiversity Survey of the Western Guiana Shield: Part III of a Three-Part Survey of South American Highlands, Guyana, 2016 (Bottom) Aquatic Biodiversity Survey of the Southern Ecuadorian Amazon: Ecuador, 2012
Aquatic Biodiversity Survey of the Southern Peruvian Amazon: Peru, 2010
(Top) Biodiversity Survey of the Western Guiana Shield: Part III of a Three-Part Survey of South American Highlands: Guyana, 2016 (Bottom) Aquatic Biodiversity Survey of the Southern Ecuadorian Amazon: Ecuador, 2012

In 2005, 2007, 2010, 2012, and 2016, I worked
with a team of biologists to complete biotic surveys
in the Amazon regions of the Brazo Casiquiare
in Venezuela, the Acre in Brazil, the Cordillera del
Condor in Ecuador, the Madre de Dios in Peru,
and the Amazonian sister system of the Upper Ireng
in Guyana. All four of these expeditions were ex-
tremely productive in the acquisition of new species.
On just these few expeditions we collected over 40
undescribed species of fish (species not yet known
to science), expanded the known range of a number
of bird species, and yielded a yet unknown number
of subspecies.

However, the human impacts on these seemingly
remote areas of the Amazon were overwhelming, ex-
asperating and humbling. They galvanized a world-
view stubbornly caught within a distraught network
of global economics, cultural wants and social ills,
as well as an immanent ecological apocalypse that are
all being brought to an accelerated confrontation
and an accelerated entropy. From the position of a
cultural producer, it is imperative that this accelerated
entropy be documented, articulated and challenged
within the cultural sphere, as its roots are ultimately
ideological in origin.

(Top) Museo de Historia Natural Javier Prado, Lima, Peru – collections (Bottom) Field Work: Madre de Dios, Peru
(Top) Field Work: Madre de Dios, Peru (Bottom) Henri Pittier, Venezuela – Bird count observation
(Top) Museo de Historia Natural Javier Prado, Lima, Peru – collections
(Bottom) Field Work: Madre de Dios, Peru