Nikolas Schiller

He is primarily known for developing Geospatial Art,[1] which is the name he gave to his collection of abstract fantasy maps created from kaleidoscopic aerial photographs, and co-founding DCMJ, where he helped write Initiative 71,[2] which legalized the cultivation and possession of small amounts of cannabis in the nation's capital.

[6] In the fall of 2007 he designed the record cover for Thievery Corporation's 12" single Supreme Illusion (ESL110),[7] which features aerial photography of the World Trade Center and the Pentagon.

[17] Later that year he helped bring two 51' foot long inflatable joints to the Democratic National Convention to "make sure all candidates are for full legalization of cannabis.

"[18] After the election of Donald Trump, in early 2017 DCMJ announced that it was going to distribute 4,200 joints at the inauguration in order to highlight that cannabis reform is a non-partisan issue.

[26] In October 2017, DCMJ began their campaign to raise awareness that individuals living in government subsidized housing risk eviction if they are found to have cannabis in their homes.

He has been known to attend voting rights demonstrations[30] wearing colonial outfits[3][31] to emphasize the fact that District resident are colonists who suffer from Taxation Without Representation.

In January 2010, he co-founded a non-profit organization called the DC Patients' Cooperative, which he hoped would become a licensed medical cannabis dispensary in the District of Columbia.

[37] In May 2010, after the Council of the District of Columbia passed legislation to regulate the medical cannabis program, he went on record advocating for more employment protections for qualified patients.

[41] Due to the "glacial pace"[42] and a requirement to sign a legal waiver concerning federal prosecution for participation in the program, he said that the organization is taking a "wait and see" approach instead of applying for a license.

[45] Named Goldie,[46] the Ford Escort was a part of a fleet of art cars that featured sculptures of a corn cob, soybean, sugar beet, and tomato[47] that were designed to appear cross-bred with a fish to humorously convey the message that unlabeled genetically engineered food was fishy.