Skye Reich
An interdisciplinary artist working at the intersection of ecology, materials, and public interaction, translating ecological processes into immersive experiences.
I'm Skye, an interdisciplinary artist grounded in science and cultivation, fascinated by the intersection of ecology, public interaction, and materials. My work balances environmental advocacy with hands-on experimentation, translating ecological processes into immersive experiences. Through my projects, I aim to spark curiosity, provoke reflection, and create meaningful encounters between people, materials, and the world around them.
Education
University of Massachusetts, AmherstMay 2023
B.S. Sustainable Community Development — Concentration: City & Society
B.S. Natural Resource Conservation — Concentration: Environmental Conservation
Experience
Jen Lewin Studio2016, 2017, 2022 · 2023–2025 · 2026–presentCreative Operations Manager; Summer Intern / Apprentice
Canova HomeSept 2021–present · seasonalJewelry Designer & Sales Associate
Magic Wings Butterfly ConservatorySept 2022–May 2023Educator & Conservation Technician
Atlas
An interactive sculpture of 24 suspended moths, drawn from endangered species of North America.
Overview
Atlas is an interactive sculpture of 24 suspended moths, their forms and wing patterns drawn from 24 endangered moth species of North America.
As visitors move beneath the suspended bodies, the moths ignite with color and sound, creating a dynamic, immersive encounter. Connecting these endangered species to a global view foregrounds the balance of our ecosystems and the interconnectedness of life on Earth.
My role
I was involved in Atlas from its inception, serving as primary project lead in close collaboration with artist Jen Lewin. I led Lepidoptera research, wing-design prototyping, and the development of AI-trained wing graphics. I managed client communication, coordinated with stakeholders, and directed material research for outdoor durability — printed surfaces, adhesives, and hardware.
I worked hands-on in the fabrication and assembly of the wings and bodies, and in installation: managing a team of installers and making on-site adjustments in response to environmental and aesthetic conditions. Throughout, I worked closely with Lewin to oversee the full project lifecycle, ensuring a durable, traveling sculpture capable of repeated installations with minimal refurbishment.
This research explored how endangered Lepidoptera could be communicated through visual and interactive design without text. Species selection was guided by global conservation standards, geographic diversity across North America and Hawaiʻi, and representation of multiple moth families to highlight ecological roles and pollination diversity.
For each species, research briefs covered geographic range, preferred habitats, host plants, conservation status, and ongoing conservation efforts. An accompanying summary on ecological significance — pollination, prey relationships, indicator species, population trends, light pollution, habitat restoration, and community science — was published on the client's website as a public educational resource.
Hundreds of reference images were collected from scientific and insect-documentation sources to train models for the 24 endangered moths represented in Atlas. Because these species are rare, images of preserved specimens were used to study wing pattern and morphology. Generated outputs were then extensively refined in Adobe Suite to ensure both biological accuracy and large-scale visual impact, drawing out the artistic elements needed for the final installation. All results were made public to help increase knowledge of the species.
Reference specimens above were used solely for research and public education. Outputs were verified for biological accuracy before fabrication.
Atlas was constructed with hand-bent aluminum frames, UV-printed speaker mesh, adjustable spring-suspension systems, and integrated LEDs. I worked directly with aluminum, epoxy, gesso, UV-reactive pigments, hinges, and modular mounting systems — prioritizing durability, repairability, and adaptability for repeated installations.
Reflection
Atlas was my first experience managing all stages of a large-scale public-art project, deepening my understanding of material systems, ecological research, and public engagement. Designing for impact meant balancing aesthetics, interactivity, and long-term durability. By embedding ecological research into an interactive system, Atlas works as both artwork and educational tool, encouraging reflection on biodiversity loss and human responsibility. I'm grateful to Jen Lewin for the opportunity to collaborate on this work.
Woman in a
Burning World
Thermochromic pigment as a passive, material-based warning system for extreme urban heat.
Project description
This project investigates thermochromic pigments as a passive, material-based warning system for extreme urban heat, focused on the populations most vulnerable to rising temperatures.
Currently in the research phase, with initial renderings completed in 2026, it explores the intersection of environmental warning, aesthetics, and community engagement — aiming to provide an intuitive, accessible signal of when protective action is needed.
All experiments used ECHOGLOWS thermochromic pigments (31 °C) incorporated into UV-resin and paint formulations. Six UV-resin shapes were exposed for three minutes in direct sunlight. Painted stars on concrete demonstrated 31 °C activation across the morning.
Early layered tests with pen and thermochromic resin paint revealed that dual-image effects require alternating pigments — so that as one layer turns colorless, the other activates — or an underlying image matched to the top layer, so the top image remains visible at all times.
Legend — what the wall shows
Ongoing testing
The current phase focuses on identifying thermochromic pigments that respond at target temperatures for urban heat warnings. Working with iSuoChem, I'm exploring pigments that shift from colorless to color at 35 °C and 45 °C, alongside black-to-colorless options with painted layers underneath exposed at different temperatures. Design refinement continues, balancing material behavior, visibility, and aesthetic impact. The project originated in the Material Experiments course at UMass Amherst and has developed gradually over the years. A mural sample, roughly 10 ft tall, is planned for painting in 2027.
A Community Garden
Without Community
A garden grown to abundance under private care, then released into public space.
Overview
This project examined the transition of a garden cultivated under private stewardship into a public urban environment.
Established in an industrial area of Bushwick, the garden was grown to abundance over four months before being relocated to a public street site — where its care, and its future, became everyone's and no one's.
Built from reclaimed wood and a found pallet, the garden was planted in April 2024 using pre-seeded starter plants and direct sowing. By mid-June, strawberries, peas, and tomatoes were producing, with carrots and beets emerging. By mid-July it reached abundance — tomatoes, beans, strawberries, root vegetables, basil, thyme, marigolds, and native flowers thriving.
Maintained in a private setting, the garden was sustained through daily watering, observation, and adaptation, prioritizing soil health, companion planting, and the continuous labor that supports collective growth over time. After it moved to a public street, that steady care thinned — and the record below traces what followed.
Private stewardship
- 04 / 14 / 2024
Garden built & planted
Reclaimed wood, found pallet, mixed sowing
Flowering started
Fruiting started
Tomatoes, strawberries, peas
- 07 / 09 / 2024
Abundance
Beans, roots, herbs, marigolds, native flowers
Public site
- 09 / 05 / 2024
Moved to public space
Tomatoes picked by community
Some neighbors shared in the harvest
Strawberry & lavender stolen
All tomatoes picked — ripe and not
Daily trash removal begins
Metal trellises stolen · graffiti on planters
- 10 / 15 / 2024
Plants pulled from the bed
When relocated to a public street, the garden was exposed to unregulated human interaction and environmental pressure. Early observations included premature harvesting of fruit and vegetables, removal of potted plants, and daily deposition of trash. Structural elements, including trellises, were taken, and soil and planter integrity were gradually compromised.
Some community members engaged positively — particularly families with children, who were inspired to plant neighboring tree beds, and local residents who shared in harvesting.
This phase highlights the fragility of care-based systems when responsibility is distributed: ecological abundance depends not only on access, but on sustained stewardship and the social infrastructure that supports it.
Thank you
For research collaborations, commissions, installations, and public-art projects.