Fernanda D’Agostino leads the CAS Public Art Team. Since 1991 D'Agostino has created public projects that range from light rail lines and community centers, to the creation of a migratory pollinators trail in Arizona and a viewing shelter on the shores of San Francisco Bay. Her final installations have been featured at major international airports, in hospitals, and throughout urban contexts. Her work is guided by deep research into the site, its people, history, and natural history. She has completed projects in cast and silkscreened glass, bronze, stainless steel, CorTen, stone and video. Fitting form, material, and content to the site in surprising ways characterizes Fernanda’s work. Unusual collaborations are also a feature of her process.
Artist: Fernanda D'Agostino (second artist Valerie Otani,)
Carved stone sculptures and a stainless steel shade canopy sculpture
72’ diameter landscape installation
A major public art project for the observation platform on the Oakland Estuary, the 66th Avenue project site is an important gateway to Oakland's waterfront, consisting of carved stone sculptures and a stainless steel shade canopy sculpture.
Fernanda D’Agostino & Valerie Otani, “Fluid Dynamics Overlook”.
Our Process of Site
CAS delves into deep exploration of site-specific art, a notion that includes the surrounding community and other stake holders as part of the idea of site. The CAS public art team under Fernanda D’Agostino believes that the process of making the work is one of the most site-specific things about it. For CAS, this requires mining local systems of knowing-whether that means collaborating with a choreographer to explore a local landscape through video, working with a gleaners group to harvest a crop, or learning to use a sophisticated scientific imaging system to enable a collaboration with an academic researcher in another field. In past projects D’Agostino’s permanent installations required collaboration across disciplines and often involve professions or individuals not normally considered allies. This leads to new levels of community engagement not only by the public but for the artist as well and through this process culture comes alive in a different way when communities are engaged in its creation. In this way, direct participation by members of the local society creates a deeper sense of ownership and community.