Quentin Caron (1986)

Aquario di Genoa Caribbean detail, steel, cement, 1993 [sculptor]
Oceanario de Lisboa, original color main floor plan, ink/watercolor, aquarium opened 1998 as the Ocean Pavilion at Expo'98 [QC designer of all habitats -5 major and 22 minor- for Cambridge Seven Associates building]
The Scientific Center Kuwait, small presentation model, aquarium opened 2000 [QC designer of all habitats for Cambridge Seven Associates building]
Brown Residence pool and stream, steel, cement 1999 [QC designer and sculptor]
Asia Trail 1 at the Smithsonian National Zoo, steel, cement, opened 2006 [QC designer of all habitats -Panda, Sloth Bear, Fishing Cat, Red Panda, Clouded Leopard, Giant Salamander, Small-Clawed Otter]
Gorilla Containment Enhancements at Franklin Park Zoo, steel, cement, opened 2007 [designer and field art direction of tree enhancements, additional work designed by others]

Our studio is patterned on Renaissance precedents in that we do a wide range of creative acts. I paint, sculpt, draw and do other studio related projects which I have chosen not to show in about ten years while at the same time I have concentrated more intensely on the what I think of as collaborative art works, the design works. For most, I designed all the habitats under contract to architects and later projects were with my wife and partner Sally Coyle who is a skilled landscape architect. We also design gardens and other landscape designs including parks, public and private spaces. Since I sell my services as a Field Art Director/Sculptor on interesting projects as well, I have the opportunity to contribute to a field of art that is mostly undocumented and little understood. Some of these projects are enormous which create a challenge that the majority of artists never are able to enjoy. I feel lucky. Some of my earlier paintings are making their way into small museums in Canada and I still have a following of sorts there. Currently I describe my studio work as 'scribbles', they have figurative elements and are related to the metaphors that I previously could not keep from doing. Some are 'portraits', some are not, there are philosopher stones and vessels as well. Along with this I have been taking photos for years now, those have a multitude of subjects and purposes. In other words, I am lucky enough to lead a completely creative life.

What was my experience like at Columbia? New York for me was such a vital place and the ability to be in the studios at all hours was so invigorating. Seeing art that was unavailable to me in my home (Calgary Alberta, Canada) gave me a gauge that was only imagined prior to my time there. Meeting visiting artists who offered alternatives to the opinions expressed by the faculty or my fellow students further broadened my understanding of what I could do and also wanted to do. Several of my fellow students I am still in contact even though we have all moved about and gone through life changes.