“Reflections Of The Field” – Sarah Ikerd, Studio Shangri-La Multimedia
Abstract: This paper explores the transition from localized Quantum Electrodynamic (QED) propulsion to macroscopic interstellar coordinate re-assignment, or teleportation, to specific locations in the universe. The system introduces Nautilus, a precursor spiral qubit node, or satellite, designed for resonant target acquisition. The hypothetical case study here is a mission to the TRAPPIST-1 system to investigate the habitability of TRAPPIST-1e. Using the organized protein lattice of a conduit human pilot in symbiosis with the Starfish’s toroidal manifold, teleportation is achieved through topological identity matching that occurs from resonant phase locking, rather than spatial translation. This paper defines the bio-energetic requirements for the spectral bridge between origin and destination, and provides a mathematical framework for noise-assisted quantum tunneling across 40 light years [or more] in 2.4 seconds.”
“Machinations” 24x36x5” (2026) – Sarah Ikerd, Studio Shangri-La
Part of a celestial mixed media series, “Machinations” is a one of a kind unique piece made of wood, paper, LEDs, water based acrylics and varnishes, and ink. As displayed in the photo gallery, it has a night mode thanks to battery powered lights. The sale comes with extra batteries, and I recommend getting some rechargeable ones for the future.
Speaking of which, this is an interesting presentation of folk art or rustic futurism in that it combines a scientific, technological and philosophical perspective, with ingredients such as wicker and wood.
Among the upcoming companion pieces, Accretion Disk wrangles up-cycled basket weave.
“Machinations” is listed here and also on Saatchi Art, and Artsy:
Artemis Amenti — Victory Joy [OCTAVES Music] 2026; Album — Victory Joy: Unboxed
This new release from yesterday 7.17.26 definitely highlights a combination of being influenced by my surroundings and my own ethos and values. There’s definitely a buzz and a unity going on because of the World Cup.
The song also addresses an overarching themes of the Artemis Amenti title album “Victory Joy: Unboxed” of sovereignty and interdependency, as well as defining one’s own success, and celebrating the victory of one’s life, in and around the greater context of society & culture and even cosmos.
This is a great example of starting a song with the title first, which doesn’t always happen, but for me this can be a really great starting point, and one of inspiration, enough to finish the rest of the song.
Whenever I have ideas, or even fragments of ideas, I record them on voice notes – sometimes I’ll piece fragments together. Victory Joy was groups of phrases and melodic fragments that eventually coalesced as a song. I keep a rolling list of ideas going.
I knew that for the vibe of the song I wanted a driving, inspiration track like U2 or Coldplay, something fitting the subject matter but not too obvious. I like to give myself the harmonic and subject matter freedom, especially functioning as an indie label, and also as a writer and producer of classical and electronic music.
When it comes to staying in motion and staying creative, I will use whatever I have available to make songs or tracks. In that way it becomes sort of journalistic or like a travelogue. Wherever and however one can capture the moment and that the mood, that becomes part of the character of the song.
There’s much to keep on learning – that will always be the case. I have definitely become skilled at staying in the flow though, and continuing the creative process in different circumstances.
There are a couple of methods that really help me: I assume right away that the song I am writing or that I have in mind is a good song and secondly that I have to finish it no matter what.
Back in the day, I would leave fragments dangling and not finish tracks. That is no longer the case and I am so much more satisfied overall because of that, no matter what people may say or not say, there is a body of work I’ve produced and I can see and track the evolution of that. It becomes a part of my personal history, in addition to wanting to speak to people, and circulate, and add to the music culture.
It is so much more interesting to realize as much of the possibilities as one can, in my opinion. Even though I’ve become really productive – there is always more to make, like the pages of a journal or ongoing story.
I’m definitely not a perfectionist, and as a result I am positive and encouraging of others’ output as well. While it’s difficult to keep track of everything that’s going on around oneself, you can be on the right side of history in encouraging people’s creativity and development, rather than the opposite. It’s that simple.
The lyrics of “Victory Joy” and the music as well, express different flavors of the feeling of success or achievement in whatever that is that’s important to someone. Joy is a feeling one gets from constructive positivity, clarity and transparency.
When I’m producing a song, I may plan first, or just try to let my mind go blank and get into the stream of consciousness – whatever words come out I jot them down, understanding that I can always change them later. For the melody, I tend to prefer soaring and a combination of expected and unexpected / conventional and unconventional. Sometime I use the piano or keyboard; other times I sing. I try to give myself the flexibility of different approaches. Sometimes I start with the drum track. And I’ll keep developing.
I hope that someone finds this useful, in allowing yourself to freely create and then edit a bunch later – or not! As far as what’s popular, I typically consider what I like first – unless it’s composing a commission with specific requirements, which can be equally fun – because then I feel good about sharing my results. From my outlook, authentic expression and variety come first, alongside accessibility and relatability. Whatever floats your boat or is important to you! Would it be great to have a “hit song” – sure! Right? That depends on a lot of factors, though, what type of music you’re making, and for what purpose. There are so many meaningful and purposeful contexts for music. I keep making music because I love to and that’s ingrained – that’s absolutely number one. And the “music industry” certainly continues to fan out and expand a lot because of technology. What was once accessible to only the majors is now available to everyone.
An extension of some conceptual photography pieces lately, such as “Wild Cosmos” and “Kudzu On Mars,” these new mixed media works in progress really bring to life the celestial concept for exhibit.
Accretion Disk is made from a great deal of surplus basket weave, that otherwise would have been thrown out. Its spiraling nature immediately brought to mind a space theme, either a galaxy or back hole, or stars. I went with Accretion DIsk as a combination of those, humorously drawing in even its own materials for growth. It’s been great fun brining this to life and now continuing to refine it for presentation. That’s an interesting balanace, given both the chaos and order of the subject.
The companion mixed media in its orbit is “Machinations” based on a drawing of gears, it’s veiled behind some amazing gold threaded paper – sourced from a local art supply. That’s one is also still coming together, but it’s going to be illuminated with back lighting.
There’s a lot of room for this slice of cosmos to explore different media and for the pieces to interact with each other in an entertaining way. More piece to come will most likely include a more traditional basket. It’s absolutely supposed to be humorous, and blur the line between concept and craft, and adornment and exhibit.
This week’s featured artworks are from the Iconography collection and the Signal & Noise series, and they’ve been placed at a well known financial institution in Chicago and a consulting firm in San Jose.
The biblical Mary is certainly a majorly influential historical figure and religious icon, symbolic of the best, highest best human traits associated with the divine mother, with faith and purity. That’s interpreted here in the conceptual photography piece “Mary” by layering her silhouette as if a spirit floating in nature, with hyperdimensional colors of where “ascended masters” may dwell. As for the also prominent Dogwood, there is some agreement in the lore about its associations with rebirth, purity, resilience and protection.
The Iconography collection also features such figures and symbols as Jesus, Buddha, Ganesha and the Hindu/Buddhist Vajra/Dorje. All of these are very bright and colorful compositions of layered photography, designed to inspire and accentuate the best interpretations. With icons and symbols, this is partly revealing of one’s perspective. Personally, I find such godly figures as the also featured “Archangel Michael” and “Shiva” to be uplifting and motivating towards higher ideals and the pursuit of cosmic understanding.
The “Signal & Noise” series could be described as ‘sci-art,’ pop and geometric, taking the seemingly colorful chaos of noise and creating patterns, or finding different patterns within the multitude of information. The variations of the series assert that ‘noise’ is necessary and helpful for the mobility, re-arrangement, and variety of life itself. It’s also a colorful presentation, an amalgam of screens and portions of images to convey the greater statement of human design within grand design. “Alloy Reformation” expresses the possibilities that go beyond metal of course, to make infinite variations for different purposes. With metals, different qualities can be blended. And the same can be said of biological organisms.
Some excellent formats for these are: Fine Art giclee prints, metal prints, canvas prints and more. For inquiry and customization, please e-mail: sarah.ikerd@studio-shangri-la.com. There are also pricings for different sizes, as well as order links on the Art Shop page.
Please also see the Sarah Ikerd & Studio Shangri-La profiles on TurningArt and Saatchi Art for further selections.
So far this summer I have really enjoyed making fantastical, surreal and colorful composites of numerous original nature photos, and adding some graphic elements to go for the vibrant pop art feel. This also allows me to express sone futuristic concepts like “Kudzu On Mars” since the resilient plant grows like crazy and takes over whatever area it inhabits. It seems like a great candidate to help terraform Mars! I’ve been on this topic before, with creosote and others. Kudzu, I learned, has edible protein rich leaves – and the root is a neuroprotective medicinal.
“Alive” is a collage of various plant and animal photos that combine in a fanciful menagerie, with the reminder that every area is teeming with life, and every piece of nature has a purpose. I had fun playing with color and scale here, like Alice In Wonderland. The creatures are gathered in this piece around a tree stump. I think it’s ignorant to think of trees as dead or dying, or even diseased. Nature always has a design and greater plan. A decomposing tree has a very important role in ecosystems actually. And insects such as beetles definitely rally around this. Then, as that tree returns to the soil, other trees spring up that are related to it. Legacy – voila!
“Elemental Bouquet” is based on a foundation of carbon, a photo of textured activated charcoal powder (that I was using for another large mixed media artwork – more info to come). I added other bits of photography that had something striking, but were not stand-alones. The silhouette of the wildflowers are definitely that, and I love colorblocking.
The collage / composite approach continues with the bright and oddly whimsical and conceptual “Industrious I-III.”
Industrious II
These are layered original photographs edited for maximum color pop. None of these are AI, but I don’t have anything against AI – it comes in handy for strategy, planning, rendering and more. There’s my opinion! Anyway, Industrious juxtaposes nature’s industry with that of humans, with an invitation to contemplate the path of evolution and stewardship, a modern understanding.
The saw blades to me look humorously whimsical and innocent atop the geometric beds of flowers. It is a statement piece, yet one of optimism, an acknowledgment of absurdity and the need for improvement, along with a nod to human ingenuity.
I look forward to creating more in this style. I was definitely transported while arranging the pop art red, white and blue of “Cosmic Wild,” that imagines woodland scenes of other chemistries on other planets, with a different starscape.
The artwork is available direct, through TurningArt and also Saatchi Art.
Electric Echoes: A Cosmic Tech Opera, Mvt 4
Next and appropriately continuing on a cosmic theme, is the score Electric Echoes Movement 4, We Are The Tech Of The Tech Of The Tech. This is a mouthful of a title referring to the lineage of creation and the embedded evolutionary technology, the greater family tree.
The score of this electroacoustic opera is massive, so I have released movement by movement, in order to stay on track. The piece was initially improvised along outlines for each movement and a greater plot. It’s definitely influenced heavily by tonal classical music, and also by beautiful noise and dissonance, and by pop electronic music. The plot involves the characters – from forces of nature to microorganisms, all levels of intelligence- trying to figure out how to evolve further. It’s an atypical opera plot, to be sure, and the instrumentation involves a lot of synth, in addition to piano and traditional strings. It’s been a journey notating this!
Movements 1-4 are now available on Amazon, in digital and paperback:
Ensembles can request scores here: sarah.ikerd@studio-shangri-la.com
And please check the publications page to purchase direct. I’ll be updating that shortly. There’s always something to update!
There’s two more movements of EE to notate and although a bit tedious to go back and sift through the parts, it’s tremendously rewarding. The whole point is to share the composition for performance, to be interpreted and staged. Although I released a recording first for reference, writing something like this is definitely so much more than a vanity project. And sometimes something like this takes a while to catch on. It’s a legacy project. Regardless, writing music is always part of becoming better and contributing to the culture. My next major piece is a symphony. And that is so much more approachable thanks to Electric Echoes, and just letting my imagination take flight, and assuming with patience I can do it.
The main narrative I’m interested in these days is the human joy of creativity, exploration and achievement, that comes in many forms. EE is certainly a celebration of that.
Photos by ITSLIQUID Group of the Consciousness 6.19.26 Venice opening reception
Now Playing 06.19.26 – 07.03.26
”Visions Of Biosynergy” Part 1 (10 minute version) || Sarah Ikerd, Studio Shangri-La Multimedia || Anima Mundi: Consciousness by ITSLIQUID Group || Palazzo Albrizzi-Capello, Venice IT
Among other themes of “Visions Of Biosynergy,” is the reflexive relationship of scientific discovery and human perspective. Patterns and fractals in nature and how these influence of the biomimicry of technology is another.
Stills from the video / animation
OCTAVES New Music
“Sparks In The Sky”“That’s My Generation”
“Sparks In The Sky” and “That’s My Generation” are the next two single from the upcoming, official 2026 Artemis Amenti album to be released in August. This year’s musical journal / journey has venture into lush melodic territory with poetic imagery and empowering themes. “Sparks In The Sky” was influenced by the likes of Coldplay and Bruce Hornsby, while “That’s My Generation” was by influenced The Who and Drake. The album’s musical canvas will wrap up with another two songs, going in to Grammy season. It’s always worthwhile to express one’s gifts and circulate them.
Ingredients: He Sho Wu (Fo Ti), Amla, Helichrysum, Gingko Biloba, Black Sesame Seed, Horsetail, Orange Peel, Red Cabbage, Rose Of Jericho, Vegetable Glycerin
This is an application of the Doctrine of Signatures—the ancient philosophical framework that the physical characteristics of a plant reveal its therapeutic value—combined with modern structural mineralogy.
For hair repigmentation, we want to target the melanocytes (the cellular “factories” that produce melanin pigment) and protect them from the oxidative stress (specifically hydrogen peroxide buildup) that causes graying. By choosing plants that hold their color and structure against the elements, BioSip sources molecules highly evolved to resist oxidation.
Named for the Fraser Fir tree (and the ‘Hynerian’ from Farscape, plus the star), that donates naturally shed needles, this is a multi-potent plant adaptogen blend from a group of medicinal evergreen trees, plants and shrubs. Among the numerous benefits, are the overarching themes of longevity, vibrancy and calm.
Purchase links are included within the post on the website and cost of shipping to the USA is included in the price.
Pip: Studio Shangri-La — where the intersection of music, art, science, and design occasionally produces something that makes a city block do actual chemistry homework.
Mara: Today we’re looking at work from sarah ikerd on a framework that asks public art to stop being decorative and start being infrastructure — sculptures that sequester carbon, manage stormwater, and potentially power a city square.
Pip: Let’s start with what it means to build a monument that works for a living.
Sculpting the Anthropocene: Art That Does the Work
Mara: The central question here is whether public art can move past metaphor — past pointing at ecological problems — and become a functional tool for solving them, embedded right in the urban fabric.
Pip: The paper draws a clear line from Agnes Denes’s Wheatfield — A Confrontation in 1982, which turned Manhattan landfill into a wheat field, to something more mechanically ambitious. The framing is direct: “contemporary climate concerns suggest that public art can evolve from confrontation to active remediation, and solutions finding, helping to synergistically reintegrate eco public art represents this evolution.”
Mara: So the sculpture stops being a canvas and becomes an engine. That’s the practical upshot — a monument engineered to interact with its environment rather than merely endure it.
Pip: And the material choices drive that interaction. Olivine and basalt form the structural core — silicate rocks that react with carbonated rainwater to permanently lock CO2 into stable bicarbonate or solid carbonate compounds. Weathering steel and titanium dioxide coatings handle the armature, the latter breaking down urban nitrogen oxides using ambient sunlight.
Mara: Which is a dense stack of processes, so the plain version is: rain hits the stone, a chemical reaction happens, and carbon that was in the air is now locked in mineral form inside the sculpture. Passively, without a grid connection.
Pip: Though the framework doesn’t stop at passive. There’s a closed-loop hydrological system — rainwater catchment feeding through filtration into a cistern, then a solar micro-pump pushing water back to the apex to trickle down through the mineral core again, maximizing surface contact and accelerating sequestration. The sculpture is essentially running its own water cycle.
Mara: The future-horizons section scales this further — graphene membranes for direct air capture during dry seasons, thermoelectric generators harvesting the temperature differential between a sun-heated metal exterior and a water-cooled interior, and micro-turbines in the downspouts capturing kinetic energy from falling rain.
Pip: A rainstorm as a revenue event. The paper even maps civic applications — transit hubs as high-surface-area carbon sinks, fire stations with photocatalytic air purification, public plazas with emergency grid power fed back from the sculpture itself.
Mara: The conclusion frames this as a tool for municipal selection committees — a way to meet sustainability targets while commissioning something genuinely monumental. The phrase the paper lands on is that these can be “dynamic relics of the future.”
Pip: Living infrastructure that heals the city it stands in — which is either the most ambitious public art brief ever written, or exactly what the brief should have always been.
Mara: Either way, the framework is concrete enough that it reads as a real proposal, not a thought experiment — and that’s where the conversation gets interesting.
Pip: When a sculpture’s job description includes carbon sequestration and emergency power, the definition of public art has quietly expanded into something much larger.
Mara: That tension between the aesthetic and the infrastructural is exactly the territory worth watching — and where the next ideas are likely to emerge.
Thanks to WordPress for this special beta feature!
Conventional biopolymers frequently do not meet the severe mechanical shear, high barrier requirements, and rapid crystallization rates demanded by primary industrial packaging lines, such as beverage bottle manufacturing. This paper presents a structural methodology for a novel, 100% bio-based, edible resins utilizing a rigid polysaccharide backbone grafted with hydrophobic plant proteins optimized for primary containers. By upcycling agricultural sidestreams, for example corn stover and brewers’ spent grain, the composite material is capable of matching the performance benchmarks of commercial polyethylene terephthalate (PET) and polypropylene (PP), as well as having considerably more advantageous features. Thermomechanical constraints are modeled to target a Melt Flow Index (MFI) of g/10 min at 180C and a tensile yield strength of MPa. This framework establishes the interfacial chemistry, ingredients and mass fractions, industrial reactive extrusion protocols, as well as decentralized home-scale methods required to realize scalable, bio- and marine-degradable alternatives for global consumer packaging. Perhaps the greatest point to make is that there are a number of acceptable solutions to this issue.”
Illustration from 2026 Studio Shangri-La Multimedia RFQ
Abstract:
This paper introduces a conceptual framework for deliberate eco-public art, sculptural installations designed to move beyond passive ecological symbolism into active, self-sustaining environmental remediation. By integrating such concepts as geochemical enhanced rock weathering, autonomous solar-hydrological loops, and advanced material innovations, these public monuments function as localized carbon sinks and stormwater management systems. The following framework establishes a new paradigm for municipal public art commissions, offering scalable, grid-independent installations that merge monumental aesthetics with measurable civic infrastructure.
1. Introduction & Historical Precedent
For decades, environmental public art has largely operated within the realms of monolithic representation, metaphor, and conceptual critique. The foundational land art and eco-art movements of the late twentieth century sought to disrupt the ‘white-cube’ gallery space and draw attention to ecological precarity, though they primarily utilized the earth as a passive canvas. A seminal pivot occurred with pioneering works like Agnes Denes’s Wheatfield—A Confrontation (1982), which transformed two acres of valuable real estate in downtown Manhattan into a golden wheat field. Denes’s deliberate intervention forced a public dialogue on waste, greed, and hunger, proving that public art could actively recalibrate the physical and conceptual architecture of a city.
However, contemporary climate concerns suggest that public art can evolve from confrontation to active remediation, and solutions finding, helping to synergistically reintegrate eco public art represents this evolution. It establishes an aesthetic framework in which the sculpture acts as an active, mechanical engine within. By treating public art as multifunctional civic infrastructure, artists can deliver monumental aesthetics that simultaneously scrub the atmosphere and manage urban water cycles, among other possible features.
Geochemical Materiality: Stone, Metal, and Carbon Sequestration
The core of a deliberate eco-sculpture is its material composition, chosen specifically to drive passive mineral carbonation, or other features (such as even electrical generation). Unlike traditional monuments engineered to simply resist the elements, these sculptures utilize environmental interaction as their primary functional mechanism.
Silicate Mineral Matrices – Examples
The structural mass of a sculpture can incorporate high-surface-area silicate rocks known for their exceptional carbon capture potential:
Olivine: Highly reactive, capturing up to four molecules of CO2 per molecule of stone under optimal conditions.
Basalt: A durable, abundant volcanic rock rich in magnesium and calcium silicates, it offers an excellent balance of structural integrity and chemical reactivity. When unpolished, porous aggregates of these stones are exposed to carbonated rainwater, they trigger a natural weathering reaction. This process permanently locks away gaseous carbon into stable, dissolved bicarbonate or solid magnesium carbonate, turning the sculpture into a carbon sink.
Architectural Metals and Catalysts – Examples
To frame these mineral cores, a sculpture’s structural armature can utilize metals that withstand or complement the weathering process:
Weathering Steel (Corten): Develops a stable, protective oxide layer (rust patina) that eliminates the need for toxic paints or sealants, blending seamlessly into industrial and natural landscapes.
Titanium Dioxide Coated Elements: Can be integrated into specific surfaces to serve as a photocatalytic agent, using ambient sunlight to break down urban nitrous oxides and volatile organic compounds surrounding the sculpture.
Autonomous Loops: Rainwater Integration and Solar Hydrology
To accelerate natural rock weathering, which is traditionally a slow geologic process, the sculpture functions as a self-sustaining, closed-loop hydrological system:
Rainwater Catchment < Sediment/Carbon Filter < Internal Cistern < Solar Micro-Pump < Atmospheric CO2 Trapped < Porous Weathering Core
Rainwater Harvesting & Built-In Purification
The sculpture’s form is designed with deliberate catchment basins, channels, and funnels to capture ambient rainfall. This water is directed downward through a multi-stage, built-in passive purification system that includes:
Mechanical Filtration: Gravity-fed sediment traps catch debris and particulate matter.
Activated Carbon Filtration: Removes urban pollutants and organic impurities, ensuring the water remains a clean, uninhibited chemical solvent before hitting the mineral core.
Solar-Driven Circulation
The pure, slightly acidic rainwater collects in a subterranean or internal cistern built into the sculpture’s foundation. Powered entirely by integrated solar photovoltaic cells, a low-voltage micro-pump draws water from the cistern during and after weather events.
The pump pushes the water to the apex of the sculpture, where it slowly trickles down through the internal weathering core of crushed olivine or basalt, for example. This continuous re-circulation maximizes the water-to-stone surface contact area, vastly accelerating carbon sequestration without drawing from the municipal power grid or city water lines.
Illustration from Studio Shangri-La Multimedia RFQ 2026
Future Horizons: Advanced Material Innovations & Energy Production
As nanomaterial fabrication matures, the potential for these installations to scale in complexity increases exponentially. Deliberate eco-public art can transition from low-tech passive systems into active, high-tech urban power plants.
Graphene and Nanomaterial Membranes
Integrating graphene-based membranes for example opens up advanced possibilities for direct air capture. Highly porous graphene networks can act as atomic-scale molecular sieves, selectively trapping CO2 molecules directly from ambient breeze and channeling them toward the mineral core, and even during dry seasons when rainwater is scarce. Furthermore, graphene coatings can drastically increase the tensile strength of bio-composite stone resins, allowing for lighter, more radical architectural geometries.
Active Energy Production and Civic Integration
Future iterations can move beyond net-zero energy consumption and become net-positive energy producers:
Seebeck/Thermoelectric Generators: The temperature differential between the sun-baked metal exterior of the sculpture and its water-cooled internal core, with built-in thermoelectric materials can generate supplemental electricity.
Kinetic Rainwater Energy: Micro-turbines placed within the rainwater downspouts can harvest the kinetic energy of falling and circulating water during storms.
This surplus energy can be channeled back into the host facility or public square, powering integrated community charging stations, public Wi-Fi nodes, or localized night-time safety lighting.
Conclusion: Intersectional Applications and Civic Impact
Deliberate Eco-Public Art occupies a vital, multidisciplinary intersection connecting geochemistry, solar engineering, smart urban planning, and fine art. By fulfilling both aesthetic and civil-engineering mandates, these installations bypass the traditional limitations of decorative public monuments.
Facility Type
Core Civic Benefit
Municipal Fire Stations
Photocatalytic air purification and localized stormwater diversion.
Transit Hubs & Rail Terminals
High surface area carbon sinks mitigating localized commuter emissions.
Urban Parks & Public Plazas
Interactive environmental education, passive cooling through water loops, and emergency grid power.
Ultimately, this framework provides municipal selection committees, architects, and master planners with a concrete strategy to meet and exceed ambitious municipal sustainability metrics. It proves that the monuments of the twenty-first century and beyond can be dynamic relics of the future. They can function as beautiful, living infrastructure that actively heals and improves the cities and environments they inhabit.
References
Agnes Denes Studio. (1982). Wheatfield—A Confrontation: Battery Park Landfill, New York City. Public Art Fund.
Beerling, D. J., Carey, J. C., Broadmeadow, M., Greiner, M., & Smith, P. (2025). Enhanced weathering for carbon dioxide removal: Scalability, permanence, and agronomic co-benefits. Global Change Biology, 31(2), e17420.
Vandeginste, V., Lim, C., & Ji, Y. (2024). Exploratory review on environmental aspects of enhanced weathering as a carbon dioxide removal method. Minerals, 14(1), 75. https://doi.org/10.3390/min14010075
Vienne, A., Rijnders, J., Bodé, S., & Boeckx, P. (2026). Weathering without realizing inorganic CO2 removal revealed through base cation monitoring. SOIL, 12(1), 421–440. https://doi.org/10.5194/soil-12-421-2026
Wilcox, S. M., & McCutcheon, J. (2025). Mineral carbonation for carbon sequestration: A case for MCP and MICP. International Journal of Environmental Research, 2025, Article 9864120. https://doi.org/10.1155/2025/9864120
Win, S. L. Y., Chiang, Y. C., Huang, T. L., & Lai, C. M. (2024). Thermoelectric generator applications in buildings: A review. Sustainability, 16(17), 7585. https://doi.org/10.3390/su16177585
Wu, W. (2026). Research on intelligent design and environmental adaptability of public art installations in the context of low-carbon cities. Journal of Cleaner Production, 412, 118942.
Zhang, L., Liu, Y., & Wang, X. (2025). A comprehensive review of carbon capture, storage, and reduction strategies within the built environment. PubMed Central (PMC), Article PMC12735339.
Or purchase here on the site & this version has the individual parts included, as well as USA shipping:
PDF download
Paperback
For inquiries, e-mail: sarah.ikerd@studio-shangri-la.com
Written and released digitally in 2024, Electric Echoes received an ASCAP Concert Writer’s award that year. However, in the flow of spontaneous composition, I did not write the score as I went! So, while the digital release well communicated the piece, the main goal – to communicate for different ensembles with a musical score, is still a goal being realized! I’m happy to publish this third movement today and keep the momentum going for the next movements, so it can be performed. While there are some specific parts listed, the instrumentation is flexible. “Dialogue Of The Stars” also includes two banks of strings.
”We have spent centuries treating death as an inevitability. What if it’s actually just a design branch on the evolutionary decision tree?
In A Cure For Death, the follow up to “Eternal Nature,” researcher and artist Sarah invites you to step out of the survival loop and into a high-tech relationship with the infinite. This is a book about longevity; it’s also a guide for reclaiming the sovereign yet unified perspective to inhabit an eternal life. By bridging the gap between biological blueprints and the flexible rules of the quantum field, Sarah demonstrates that the eternal is a present reality that we have simply forgotten or are learning how to see.
From the regenerative intelligence of nature to the theoretical architecture of interstellar civilization, this book describes the transition from being a passenger of time to becoming a conscious architect of reality. It’s a call to align physiology with a new, constructive ideology — one where the doors to the cosmos are always open, and the only thing standing in our way is perspective.
The universe awaits; it’s waiting for us to remember who we really are.”
Also available direct here on the site in digital, paperback and hardcover:
Visions Of Biosynergy, Studio Shangri-la, Sarah Ikerd
Visions Of Biosynergy, Studio Shangri-la, Sarah Ikerd
Visions Of Biosynergy, Studio Shangri-la, Sarah Ikerd
Art news update! A modified segment of “Visions Of Biosynergy” from 2024 will be part of the exhibition “Consciousness Venice” during the 61st Biennale Arte 2026. It will show from June 19 – July 03 at the Palazzo Albrizzi-Capello in the Cannaregio district. Thanks to ITSLIQUID, this animation of 20 of my artworks on a theme of harmonizing nature and technology, will be part of this “global international contemporary art exhibition … with participants from 99 countries.” It’s exciting to say the least for ‘Visions’ to exhibit internationally.
The entire piece is 40 minutes long and was commissioned for LED pylons for Greystar Life Sciences. The portion showing at Consciousness Venice during Biennale is a modified, somewhat speedier part I. The slideshow above contains three different stills of the motion / animation based on the three artworks: “Quatrefoil,” “Sun Cross” and ”Crystal Mind.” The 20 artworks included are definitely representative of my botanical geometric style in conceptual photography. It’s wonderful to see “Visions Of Biosynergy” circulating the messages of sustainability with poetic taglines.
For fun and dedication to the occasion, I also included a new intro / outro card that is a ‘still life’ photo piece I made with ancient rocks and minerals, to resemble the Italian tri-color flag. It’s a combination of history, earth, inner child and futurism. Grazie Venezia! I’m thankful for the opportunity to be part of this grand event.
The individual pieces from VOB are available as prints in different mediums, and so are even the motion stills, as well as the video files themselves. Please inquire here: Sarah.ikerd@studio-shangri-la.com.
See also the Art and Shop pages here on the site, plus the catalog / profile pages on TurningArt and Saatchi Art.
Inspired by earth month and the theme of waging peace, the “Hello World!” mini series combines lush, verdant beautiful views of nature with the common computer Python code test phrase. The phrase, in relation to computing, originated in 1972 at Bell Laboratories — and supposedly comes from a cartoon of a chick hatching from an egg.
“Dania Modern” continues on a familiar theme of coastal modern, with its art deco natural and geometric forms. These feature shadows and the enhancement of existing colors to create to multitude of expressive, cool blue and even noir patterns. This theme continues to develop with a favorite influence of ‘Miami Modern.’ I see Art Deco as a style that embraces both the synergy of nature and technology, and also art and architecture / engineering.
Protein-Grafted Edible Resin For High-Volume Injection Molding
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April or Earth Month is a perfect time, especially in the post Artemis II glow, to put forth environmental design initiatives. Both of the attached presentations concern the modifications of existing industrial processes in order to modernize and optimize them for sustainability and public health.
Both are important, however the fully biodegradable, and even edible resin or bioplastic to replace ‘traditional’ plastic, is clearly a priority global topic. As the slides show, the target is to have the product fully biodegrade in less than 180 days. That is indeed game changing – and the game really must be changed. It doesn’t take another research paper to realize how impactful it would be on the environment and people’s health to make these types of changes.
Fortunately, many of these changes are taking hold – agave straws in Dunkin Donuts for example! And thanks to updated FDA regulations, companies are motivated to phase out synthetic dyes.
Both of these process designs were pitched to PepsiCo in response to their innovation needs. It’s important to address these systemic changes from different angles. And it is doable within the current economic framework. Yet as the tech and harmonization increases, the economic system and ideologies will inevitably shift. The fact that major companies are motivated and concerned with innovation for sustainability reflects increasing awareness of Earth and biology, is sinking in on all levels, as it should.
I would characterize that conquest and use without looking at the bigger picture is necessarily becoming a thing of the past. I was going to say ‘mindset,’ but capitalism without a legacy plan or consideration of lifecycle, or a respect for a healthy planet has no mind to set. I believe that it’s important to care for this planet, while also seeking out the others!
High Stability Bio-Pigment Suite For Vivid Natural Carbonated Beverages
Natural Colors for Food & Beverage 1
Natural Colors for Food & Beverage 2
Natural Colors for Food & Beverage 3
Natural Colors for Food & Beverage 5
Natural Colors for Food & Beverage 4
The Bio-Pigment plan is also concerned with health and safety, and quality standards for food & beverage, where the United States has been behind the times, compared to the E.U. The goal of both solutions is to plug them into existing infrastructure or equipment, so it’s important to try and understand a company’s needs, what they could realistically implement – or specify what to adjust. Intellectual property is of course a factor as well. Change isn’t always easy, but with a clear vision and a roadmap that understands the essence of the process, it can be easier.
It can be far easier in many environmental related cases to contribute to an existing project than to scale something completely ‘from scratch’ – although that is just as great, depending on resources. For environment related issues, I think it’s important to also optimize what is already in place, to modify companies that have a large impact.
Whatever the avenue, there’s lots of opportunities for innovators and innovations in every sector to come up with solutions for the new era, or “Green Revolution,” and that includes small companies and individuals, that in many cases can be more agile. Many companies have existing processes and roles that keep cycling, and it can help to outsource the creative disruption. Also, solving puzzles can be really fun.
What can Studio Shangri-La Multimedia optimize, imagine and design for you? Contact: Sarah.ikerd@studio-shangri-la.com.
Inspired by the global views of the Artemis II mission and the recent celebration of Easter, these are composite / collage pieces that combine the urban and the spiritual. The views are of the very recognizable Times Square, a bustling, busy and noisy melting pot of people from all over the world, existing mostly peacefully. I think that’s something important to remember, aside from the blaring media headlines.
Of course there are holy cities that are officially recognized as such, like Mecca and the Vatican. The titles of these artworks refer to a kind of ‘holy see’ of the eyes that can view any and all locations as holy. And there’s a lot more holiness yet to be explored beyond Earth, and beyond the Solar System. Earth is a gem of course in a vast cosmic ocean. It’s amazing humans have the opportunity, with growing ingenuity, to keep expanding. It can be viewed as a holy form of desire to treasure what one has, and also keep seeking and creating.
Speaking of expansion, the new art format that’s available is large public mural sizes and large acoustic panel sizes. This is more in line with sign and banner printing, as in very large. I was inspired to add this by airports and their growing art collections. Large format artwork really makes a positive impact there, such as the NASA / JFK display at Boston Logan or the simple, very large sky views; and colorful, welcoming artworks at Miami International. Even though the epic sky is overhead, a beautiful sky photo can make a public large space even more expansive and much more appealing. A sunset is one of the most beautiful sights a human on Earth can experience and any sort of colorful abstraction is like adorning the walls of ever more elaborate caves.
Art is visual art – it has that definition, of being deliberately created for that purpose. Yet so is architecture, engineering, sciences, writing and other media, and so on into the living of a life. I was inspired by these multiple interpretations, and overlapping realms, in creating Holy City I & II.
For formats and pricing, please visit the Art Shop page. These and many others are also available on the SAATCHI Art and TurningArt (commercial clients) pages. For questions and direct orders, please e-mail: sarah.ikerd@studio-shangri-la.com.
[Bio-Pigment Suite]:High-performance, pH-stable natural colorant solutions designed for global scale implementation.
[Gallery + Outdoor Art Installation]:Luxury-tier aesthetic / art installation integration with focus on sensory design.
The Bio-Pigment Suite project proposal seen here is an open innovation technical / design specs summary for natural colors for food & beverage. The proposal document outlines concept-to-calibration, the stabilization process and the engineering benchmarks that could make this approach a viable long-term solution for the natural food coloring goals of large companies. It also represents a type of project I feel passionately about, and that is making industry healthier and more sustainable.
Installation 1
Installation 2
Installation 3
Installation 4
On a different subject, The Project Room proposal addresses creating an experience with a potential art installation, and is informed by views of the space, and knowledge of the overall aesthetic of the company, other exhibitions, as well as the surrounding area. With this one I’m blending my style & vision with what I think will work best there, while being receptive to collaboration, modifications and iterations.
Both are examples of great opportunities for art & design, to create a range of context based creative solutions! That is supplemented by more hardware and software than ever, yet it’s important to remember that the human abilities to imagine and build are the most important, and everyone has those tools within them.
Reach out for more about Studio Shangri-La Multimedia Design: Sarah.ikerd@studio-shangri-la.com
Eye Of Infinity – day viewEye Of Infinity – night view
A sculptural upcycled piece of drumheads and LEDs inspired by optics and lenses / evolution of vision and awareness, the wave connection of music, and larger symbolism of the infinity symbol, plus the eye / iris, apertures perceiving reality in different ways. Also the quotation: “Say that I was a drum major for peace. I was a drum major for righteousness.” ~ MLK
Regarding materials, this a fun piece of happenstance and serendipity. In the city, people leave out all kinds of items and a neighbor was getting rid of these minimally used drumheads. I was instantly inspired by the potential for their next life as a sculptural wall hanging. I rearranged them a few times, and then as they sat in the background during optics studies, they organically took shape until they matched a conceptual and physical vision of lenses, points of view and possibility, with the focal point of an iris in the middle, the larger infinity shape, and the yin yang black & white balance. There was a different configuration that I liked along the way, but I knew immediately that this final one was by far the most impactful. Even better, it allowed for me to hide some LEDs behind the center white bass drumhead that come alive at night, as points of light or rays in the central eye.
Drumheads are often, as these are, made of Mylar and Kevlar. Other materials includes adhesive and acrylic paint. The whole approach is a clean minimalism. I didn’t see the need for any further adornment once the shape aligned with the concept. The powerful presence of the shapes, symbolism and contrast is multidisciplinary – it’s at home with Music, Science/Optics, Spirituality, Philosophy, and Contemporary / Modern Art.
“Eye Of Infinity” is available direct here on the site – email: Sarah.ikerd@studio-shangri-la.com – and also through Saatchi Art.
This episode explores the relationship of technology and art with human evolution and awareness, to include both finite and infinite systems to navigate life, and continue to grow.
Interested in being a guest, or have a recommendation? E-mail: Sarah.ikerd@studio-shangri-la.com.
In temperate climates, the birds are a’flutter singing their elaborate songs. This new addition to the catalog, “Proud Mockingbird” is one such singer, puffed up towards the sun. The piece is a composite of course, to juxtapose nature and technology, or different kinds of intelligence. Of course, humans are part of nature and the ongoing biomimicry is highlighted here. What’s also highlighted is the adaptation and ingenuity of birds. After all, they can fly, and with built in GPS at that. This is a conceptual, mythological portrayal of the subject, with the merging of a tree branch with power lines, and overlapping geometry that creates a pyramid, and the turning page at the corner. The proud mockingbird alights on either, as power lines become obsolete.
Let’s see some more bird portraits because they’re delightful:
Sanderling
Great Heron
Wild Turkey
Ka by Sarah Ikerd, Studio Shangri-La
I think it’s important to remember that evolution is ongoing, and affects all beings. These adorable portraits are a fun reminder of animal intelligence, different from ours, that has been evolving for far longer – that’s why they’re so in tune with Planet Earth.
The above sampling of bird portraits feature the Sanderling, Great Egret, Wild Turkey and Red Tailed Hawk. There are certainly more!
The Sanderling is a fast-running/skittering international bird, common to shores across the globe. Although small, they can feed themselves a mere 12 hours after being born and have been known to migrate up to 10,000 miles.
The genus of elegant Great Egret has been around for 7 million years. In light of this, it should hardly be surprising that I saw one wait for a crosswalk signal to cross the street in Florida. The egret in the portrait above was talking a walk on Virginia Key, and probably foraging, near a surf shop.
Wild Turkey is a suitably bold graphic portrait for this bird, strutting around in the urban environment, which is a reminder that the land is theirs too. The city becomes their urban wild. Despite a not exactly aerodynamic profile, an amazing fact about wild turkeys is that they can fly up to speeds of 55 miles per hour.
Like “Proud Mockingbird,” the Red Tailed hawk in “Ka” inhabits a composite or collaged scene. In this case, I combined the portrait of my neighbor “Fluffles” with a beautiful sky photo, and a compelling natural object I photographed years ago – a burned piece of wood that looks like a Triskelion. There’s a lot of symbolism here. “Ka” is the ancient Egyptian word or concept of soul or life force.
These portraits and more are available direct here through the site’s Art Shop, and also on Saatchi Art and TurningArt. If don’t you see a size or format on the current menu that you want, reach out by e-mail: Sarah.ikerd@studio-shangri-la.com.
