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Additional Artworks

From Fulton County Public Art Program

  1. Ribbons and Pipelines for Ocee by Cynthia Knapp, Image 3.

    Cynthia Knapp

    Ribbons and Pipelines for Ocee, 2004

    Acrylic on shaped flexible PVC Panel

  2. Gates by Bluebird Sculpture Group Martin Kelly & Colleen Sterling, Image 3.

    Bluebird Sculpture Group Martin Kelly & Colleen Sterling

    Gates, 2003

    powder-coated steel

  3. Snapshot by Lynn Marshall-Linnemeier, Image 6.

    Lynn Marshall-Linnemeier

    Snapshot, 2003

    Mixed media on canvas

    48 x 72 in (121.92 x 182.88 cm)

  4. Views of South Fulton County by Lisa Guyton, Image 1.

    Lisa Guyton

    Views of South Fulton County, 2003

    Acrylic on canvas (4)

    5 x 20 x 4 in (12.7 x 50.8 x 10.16 cm)

  5. Older, but Very Much Alive by Ralph Gilbert, Image 1.

    Ralph Gilbert

    Older, but Very Much Alive, 2003

    Acrylic on canvas (9 panels)

    30 x 816 in (76.2 x 2072.64 cm)

  6. Hapeville I and II by Jeannine Cook, Image 1.

    Jeannine Cook

    Hapeville I and II, 2003

    Watercolor

    24 x 32 in (60.96 x 81.28 cm)

  7. Transparent Joy by Deborah Whitehouse, Image 2.

    Deborah Whitehouse

    Transparent Joy, 2002

    Transparency film installed in windows

    22 x 36.5 in (55.88 x 92.71 cm)

  8. 4th Ward Atlanta by Louis Delsarte, Image 5.

    Louis Delsarte

    4th Ward Atlanta, 2002

    Acrylic & mixed media on canvas

    60 x 84 in (152.4 x 213.36 cm)

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About the artist

David Landis

My figurative body of work offers a compelling view of dreamlike and fragmented animal imagery, while my outdoor sculptures are comprised of large scale stainless steel representational and abstract pieces with nature-based themes. My work is influenced greatly by animal, botanical and natural forces such as wind, currents, and rays of light. I find these nature based themes visually seductive and loaded with history, diversity, lore and symbolism. In addition, the fleeting quality and constant flux of seasonal changes create an intriguing dialogue when the subjects are preserved in the permanence of metal. The mirror polish of the stainless is highly interactive in that the colors reflected are constantly changing, and viewers investigating the work become part of the piece as their reflections change and vary while passing the work. Clouds, sky, time of day, seasonal changes, and faces are driving forces in the experience.