Scheflen began creating illuminated photographic sculptures and light boxes not only as an artistic exploration but also as a practical response to the challenges of exhibiting unconventional, large-scale installations. Finding galleries willing to present work that merged with photography, sculpture, sound, and environmental design was often difficult. By creating self-illuminated artworks, Scheflen developed a way to exhibit his pieces in spaces where traditional gallery lighting was unavailable or insufficient, allowing the work to be experienced as originally intended. 

Each light sculpture was designed and hand-built by Scheflen using indigenous and locally sourced materials selected to harmonize with the transparent photographic images within. The materials, structure, and illumination were carefully integrated so that each piece reflected the cultural, environmental, and geographic context of its subject. The result was an immersive form of storytelling where photography extended beyond the frame and became a sculptural experience connecting people, place, and the natural world. 

Equally important, Scheflen wanted his work to reach a broader audience and engage in a diverse cross-section of cultures, ages, and backgrounds. He believed that art addressing wildlife, conservation, and humanity’s relationship with nature should not be confined to traditional gallery spaces or limited to those who regularly visit museums. By exhibiting in public venues, community spaces, churches, schools, and transportation centers, he brought these ideas directly into everyday environments, engaging thousands of people who might never encounter such work otherwise. The illuminated sculptures transformed ordinary public spaces into places of reflection, discovery, and dialogue. 

One notable example was Kiboko, a large-scale illuminated sculpture installed in the front yard of St. Mark’s Church-in-the-Bowery in New York City. The work was illuminated every night for more than two years, becoming a familiar presence for neighborhood residents, visitors, artists, and passersby. More than a public artwork, Kiboko became a symbol of support for environmental stewardship, wildlife conservation, and the protection of endangered ecosystems. Its ongoing presence invited viewers to reflect on humanity’s connection to the natural world and the responsibility we share in protecting the planet’s fragile ecosystems. 

The installation embodied Scheflen’s commitment to using art as a vehicle for conservation awareness, cultural exchange, and public engagement—bringing important environmental conversations beyond traditional exhibition spaces and into the heart of community life.