In these charcoal drawings, billboards are rendered as bits of transitional architecture: in between messages, each billboard skeleton is mute: a sign without a sign. This series is named for Lady Bird Johnson who fought to limit billboards through the "Highway Beautification Act of 1965", also known as "Lady Bird's Bill". These also explore forms related to Space Available, a series of flat roof sculptures to expand to the High Line, NYC, in 2011.
materials: charcoal on paper / approximately 30 x 22 inches / series of 15+