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Landscape + Light: David Wallace Haskins at the Edith Farnsworth House

For the architectural icon Ludwig Mies van der Rohe, his impact continues to resonate throughout the worlds of design, architecture, and art. For our spotlight series, we’re happy to introduce the most recent exhibition of Chicago conceptual artist David Wallace Haskins, Landscape + Light, at the Edith Farnsworth House, which engages in a fantastic dialogue with one of van der Rohe’s most legendary homes.

The Edith Farnsworth House, formerly the Farnsworth House, is an historical house designed and constructed by van der Rohe between 1945 and 1951. The house was constructed as a one-room weekend retreat in Plano, Illinois. A rural community 60 miles southwest of downtown Chicago, and was opened to the public in 2004 as a National Historic Landmark.

Over the past decade, Haskins has had the opportunity to create experiential sculptures and architectural interventions in response to various works by van der Rohe. Haskins is one of the few midwestern artists working in the tradition of the Light & Space movement and considers Mies to be one of its earliest pioneers as he was creating minimalist works of light and space thirty years before the movement took hold in southern California in the 1960s. 

As part of the solo exhibition for his 2022 artist-in-residence — Landscape + Light  is composed of three installations across the Farnsworth wooded property including The Memory of Glass, Image Continuous, and Stone Landing. 

Edith Farnsworth House
Memory of Glass, Photo: courtesy of David Wallace Haskins

Memory of Glass examines the recent scientific discovery that certain types of glass retain memories in a form resembling neurons. It envisions Farnsworth House as hearing and remembering an ambient soundscape that has washed over it for the last 70 years. Haskins engineered a way for these sonic memories to emanate from the house. The structure’s 12 large glass panels to reverberate as floor-to-ceiling glass speakers. Sound is both sent inward and outward, further blurring the lines between the indoors and outdoors. “Dissolving the boundary between the interior and exterior world” Haskins notes.

Landscape + Light is also the world premiere of the site-specific sculpture, Image Continuous from Haskins’ Skycube series — fabricated from a ton of skyscraper glass, which is actually half of the glass van der Rohe used to glaze Edith’s home. This visually perplexing sculpture turns the sky inside-out. Thus engaging the spectator as a participant as their position in space shifts. 

Concerning its sculptural presence, Haskins explains: “We tend to ignore the sky as it enwraps and illuminates the landscape, but with Image Continuous, the dynamic is reversed — the landscape enwraps the sky, giving it presence and form. We forget the sky, or troposphere, starts at the ground and rises 10 miles high. Here, we see ourselves in the landscape in relationship with the sky. Whilst allowing us to behold its presence in a truly personal and embodied way.”

Stone Koan
Stone Koan. Photo: courtesy of David Wallace Haskins

The final installation of Landscape + Light consists of a large meditative monolith from Haskins’ Stone Koan series, made from the original Italian travertine that van der Rohe used to cover the stairs and terrace of Farnsworth House from 1951-2021. Due to severe weathering, these stones were replaced in 2021, allowing Haskins to utilize them to create a number of Stone Koans and a smaller Skycube. 

With our heads and hearts firmly rooted in the Modernist tradition. It’s a joy for the Optima team to see how the legacy of Mies van der Rohe continues to inspire contemporary artists. And if you’re a lover of all things Modernist, you won’t want to miss this extraordinary experience.

Landscape + Light continues through May 2023. Visit the Edith Farnsworth House website to learn more about visits and tours.

Chicago Public Art Spotlight: Agrifolia Majoris

With deep affection for Chicago and its commitment to public art, we can’t get enough of the monumental sculptures that abound in the city of big shoulders, from locked-land to lakefront. Today, we’re spotlighting Agrifolia Majoris by Nancy Rubins.

Nancy Rubins is an American sculptor, represented by the global gallery, Gagosian and Rhona Hoffman Gallery. She’s widely known for her otherworldly yet familiar assemblages of objects — toasters, hair dryers, canoes, mobile trailers, cast iron animals, plane parts — the list of objects continues to grow. 

As seen with Agrifolia Majoris, Rubins situates these forms in relation to one another using steel wiring, all of them cantilevering over the people that stand beneath them. The tension of these objects bound together investigates their static nature as sculptures, thus revealing their monumentality and ever-lasting plasticity. 

Blooming from its concrete base floats Agrifolia Majoris, recently installed (June 2022) just north of legendary Promontory Point on the lakefront in Hyde Park. To the observer or passerby, the sculpture seems to explode into a vortex of metallic animals fabricated from cast iron, each held together solely by steel wiring. This form multiplies into a variety of animals — alligators, hogs, elk, buffalo, and even a horse, much like the equestrian sculpture we recently covered, Impulsion in Scottsdale.

While completed in 2017, the installation at Promontory Point did not go as smoothly as one may have hoped. A supercell storm, with winds clocking in at 84 mph at O’Hare Airport, bypassed downtown Chicago entirely — but swept through Hyde Park instead, causing the installers to seek shelter. This left Agrifolia Majoris to brave the night ungrounded. One hundred and fifty trees fell that night. Thirty of which were found along the Lakefront near 51st Street, but the Majoris remained intact.

Dense Bud, 2016
Dense Bud, 2016, installation view, Chicago © Nancy Rubins. Photo: Brian Guido

Agrifolia Majoris, brimming with character and charm, isn’t the only Rubins work sharing the Chicago spotlight. Dense Bud, located on the North Side in Edgewater, at roughly 5300 N. DuSable Lake Shore Drive, is made of cast iron and a subdued patina of bronze, hinting towards the passage of time. The heavier animals featured — hippos and wolves — spill out of its concrete base. These two sculptures are part of Rubins’ sculptural series Diversifolia (meaning ‘separated leaves), and function as “bookends” to the lakefront.

Rubins’ sculptures join the long list of legendary public artworks across the city, including Picasso’s armadillo, the Calder Flamingo and Crown Fountain by Jaume Plensa.

Scottsdale Public Art: Impulsion

As part of our ongoing public art series, we’ve been exploring exceptional creations to be found across Scottsdale such as Water to Water, Pinball Wizard and today’s breathtaking focus, Impulsion.

Project Background

The project was commissioned by Scottsdale Public Art, and installed in December, 2014. It was announced that Impulsion, a work created by Jeff Zischke, had been chosen from 200 applicants as the new sculpture for the entrance of one of the most recognized equestrian centers in the country, WestWorld. The city of Scottsdale undertook an expansion that added 40,000 square feet of space to host special events and renovated their equidome, and wanted to celebrate the newly-opened space with a public art commission.

Today, you’ll find that the equestrian experience at WestWorld is complemented by any number of non-equestrian events ranging from dog shows to auto auctions, including the Barrett-Jackson Car Show. These various events provide great financial benefits to the community while contributing to Scottsdale’s treasure trove of things to do. 

Construction of Impulsion

Power, Nobility, and Beauty

Made of stainless steel tubing, the reflective quality of Impulsion exhibits the brilliance of an equestrian structure floating in formation. The artist’s desire was to create an iconic sculpture to welcome visitors with a grand entry experience as they step inside North Hall at WestWorld. 

Construction of Impulsion

Impulsion is an amalgamation of several horse breeds, projecting the excitement of explosive movement in equine form. In a recent interview, Zischke explains, “At the fundamental level, my intention is to create a site-specific work that is unique, educational, and interactive. To create a catalyst for an experience that tells visitors that Scottsdale is a place on the move. A place containing all the power of the large, elegant horse they are gazing at.” 

Jeff Zischke is an Arizona artist who works in both the public and private art sectors, creating sculptures, mixed media and urban transformation pieces. His viewpoint on the environment he lives in is addressed through varying installations centered on organic shapes and modern technology. 

Next time you’re out and about in your hometown or visiting Scottsdale from outside the community, don’t miss an excursion to WestWorld and check out Impulsion!

Scottsdale Public Art: Windows to the West

As part of our ongoing public art series, we’ve been exploring exceptional creations to be found across Scottsdale, from the unique Water to Water, to the latest installation, Pinball Wizard. Today however, the spotlight is on Windows to the West, Scottsdale’s first public art installation and one that still inspires the city today after more than 50 years in the city. 

In June 1970, the National Endowment for the Arts (NEA) awarded the City of Scottsdale a $20,000 matching grant to commission its own notable work of art by an American sculptor. The NEA program, Works of Arts in Public Places, would go on to fund more than 700 works of public art across the country, and Scottsdale was the first small city they approached at the time. 

Two years later, in February 1972, the City of Scottsdale finished raising their $20,000 of the matching grant, and the Scottsdale Fine Arts Commision chose acclaimed sculptor Louise Nevelson to create the first work of public art for the city. Nevelson, who is regarded as one of the best sculptors of the 20th century, completed the expressionist sculpture out of monochromatic corten steel designed to patina with time. Its abstract structure and shapes resemble some of her other iconic creations. 

Louise Nevelson, the creator of Window to the West, Gazing at her other artwork, 1978, Courtesy of Dixie Guerrero, ©Pedro E. Guerrero Archives

Although the sculpture was originally titled Atmosphere and Environments XVIII, thanks to its westward placement after its completion, it quickly became known as Windows to the West. Since its dedication in 1973, the sculpture has remained a treasured landmark of Scottsdale and continues to showcase how far the city’s appreciation for art has come.

Today, due to renovations on the Scottsdale Civic Center where the Windows to the West lived, the sculpture is in storage until the construction is finished in 2023. When it returns, art enthusiasts can expect the beloved sculpture to find its new home closer to the Scottsdale Center for the Performing Arts, but with the same western spirit as before.

50 Years of the Chicago Public Art Group

Chicago’s vibrant public art is just one of the many things that make the city so magical. From Cloud Gate and Crown Fountain in Millennium Park to Art on theMART and Lakeview’s storied murals, otherworldly art installations bring life to nearly every neighborhood. Today, we’re spotlighting an organization that has filled the city with meaningful public art and provided a space to foster community engagement for 50 years, the Chicago Public Art Group.

History of the Chicago Public Art Group

The Chicago Public Art Group (CPAG) was founded in 1972 by William Walker and John Weber, inspired by the destruction of a mural Walker had completed in 1967 on the side of a tavern in Bronzeville. The 20-by-60-foot mural, known as The Wall of Respect, was created to protest Black erasure and honor 50 heroes in the Black community. 

The wall featured a montage of portraits, including those of Aretha Franklin, Gwendolyn Brooks and Miles Davis. It featured seven sections that split the public figures: statespeople, athletes, rhythm and blues, religion, literature, theater and jazz. After its completion, the mural instantly became a mark of cultural pride and a popular tourist attraction on Chicago’s South Side. The mural was vandalized in 1971, but its spirit lives on through public art across the country and especially within the CPAG today. 

Mount Greenwood Musical Playground, James Brenner

After the mural’s destruction, Walker and Weber formed the CPAG to forge partnerships with artists and communities across Chicago to transform the urban landscape. From used walls and streets to urban structures, the organization used every tool they had access to amplify their voices. 

Celebrating 50 Years

Today, CPAG is celebrating its 50th year after creating nearly 1,000 works of art throughout the Chicago area. From the Martin Luther King, Jr. Living Memorial in Chicago Lawn to the Mount Greenwood Musical Playground, the organization has completed murals, sculptures, earthworks, playgrounds, mosaics and everything in between. 

Martin Luther King, Jr. Living Memorial, Chicago Lawn, Sonja Henderson & John Pitman Weber

And although each piece resides in a different neighborhood, they are all rooted in the same three core principles: everyone deserves to experience great art, every community deserves a voice and art-making, and public art encourages community investment. CPAG also continues to share the same values they’ve held for 50 years, uniting artists and organizations to produce art that reflects the beauty of the surrounding community. 

For those interested in becoming involved with the organization, CPAG mentors, trains, inspires and supports children and adults across the city and provides everyone with the tools and confidence they need to bring their visions to life. Learn more about how you can get involved and discover more of CPAG’s inspiring art creations here!

Scottsdale Public Art: Pinball Wizard

Scottsdale’s appreciation for art enables artists to publicize their talents and add to the environment’s imaginative aesthetic year-round. From initiatives like IN FLUX Cycle 10 to classic installations like Knight Rise, Scottsdale proudly embraces the impact behind sharing art with others. Today, we’re spotlighting Scottsdale’s latest addition of public art, Pinball Wizard

Completed in June 2022, Old Town Scottsdale welcomes Pinball Wizard as the city’s newest public art installation. Public Artist Annette Coleman worked with Scottsdale Public Art to design and construct the vibrant project using colored glass. Coleman is well-known for her illustrative mosaic public art installations, many of which reside in Colorado, and embraces a public art philosophy rooted in stimulating inspiration and creating community. 

Pinball Wizard resides at the Stetson Plaza Splash Pad at the Scottsdale Waterfront and features 30 disco-like mosaic orbs and various mosaic waves built into the environment. Designed to catch light from every angle, the myriad of shapes and bright colored glass in Coleman’s design embraces the playful attitude that already fills the area. 

Annette Coleman installing Pinball Wizard, Courtesy of Scottsdale Public Art
Annette Coleman installing Pinball Wizard, Courtesy of Scottsdale Public Art

Drawing inspiration from her appreciation for the outdoors, specifically water, wind, flora and fauna, Coleman included various serpent-shaped waves throughout the concrete wall of the splash pad. Her inspiration behind Pinball Wizard, and many of her other projects, also draws from television shows, games and science productions, and other pop culture references. 

Pinball Wizard brings a splash of color to the already lively surrounding at Scottsdale’s Stetson Plaza Splash Pad. Visit the public art yourself and hear more from Coleman about its creation here

Women in Architecture: Lilian Rice

As part of our ongoing “Women in Architecture” series, we’re spotlighting an eco-conscious architect of the early 20th century, Lilian Rice. Inspired both by the historic Spanish Colonial design she grew up in and the organic philosophy that influenced her throughout college, Lilian Rice left an impressive mark on the architecture of Southern California. Learn more about her extraordinary life and work below:  

The Life of Lilian Rice

Born on June 12, 1889, Rice grew up in National City, California, just south of San Diego and only 10 miles north of the Mexican border. Her father, Julius Rice, was a prominent educator in the state and her mother, Laura Rice, an amateur painter and designer, both empowered her to pursue her interests in education and the arts. 

Growing up, Rice was heavily inspired and influenced by the abundant Spanish Colonial culture and architecture in the area, including the many adobe homes. In 1906, she moved to Northern California, where she started attending school at the University of California, Berkeley, where she studied architecture. Rice joined the school’s Architecture Association shortly after and quickly rose to a leadership position. At school, she also discovered her philosophy of holding a deep respect for each project’s surroundings and striving to protect their natural environments. 

Lilian Rice, The Claude and Florence Terwilliger Home, 1925, Courtesy of Don Terwilliger

Following her graduation in 1910, she moved back home to National City to care for her mother and acquired a job working with San Diego architect Hazel Wood Waterman – the city’s first female architect. While working for Waterman, Rice also spent time teaching at San Diego High School, leaving her influence on many future architects, including Samuel Hamill, FAIA. 

Notable Works and Achievements

In 1921 Rice’s career catapulted when Richard Requa and Herbert Jackson hired her as an associate in their architecture firm. During her first year, Requa and Jackson assigned Rice with designing a Civic Center for Rancho Santa Fe – an up-and-coming subdivision – which she eventually gained leadership over in 1923. 

Lilian Rice, The ZLCA Rowing Clubhouse, 1932, Photograph by Diane Y. Welch

From then on until 1927, the majority of Rice’s work involved developments and expansions within Rancho Santa Fe. Many of the projects she designed in the subdivision are listed in the U.S. National Register of Historic Places, including the Claude and Florence Terwilliger House and the Reginald M. and Constance Clotfelter Row House. In 1928, after she had received her architect’s license from California, Rice made the ambitious decision to open her own architecture firm.

Following the launch of her firm, Rice began working outside of Rancho Santa Fe, allowing her to step away from the Spanish Colonial style she was known for into more organic approaches. Even throughout the depression, Rice’s career excelled in the 1930s when she designed some of her most familiar works, including the Paul Ecke Ranch home, and both a boathouse and a clubhouse for the San Diego ZLAC Rowing Club in 1932.  

Lilian Rice, Mixed-use building holding La Valenciana Apartments and Rice’s office, Rancho Santa Fe, 1928

Alongside her work, Rice has been a recipient of many architecture awards and achievements, including: 

  • AIA Honor Award, Chrstine Arnberg Residence, 1928
  • AIA Honor Award, ZLAC Rowing Club, 1933
  • AIA Honor Award, La Valenciana Apartments, 1933
  • 11 buildings listed to the National Register of Historic Places

Through her diverse catalog of architecture projects, Rice filled Southern California with more than 60 unique homes. And while the Spanish Colonial Revival was prevalent at the time, Rice was one of the leading architects who helped make it widespread throughout the state, leaving a reputation little can compare. 

Scottsdale Public Art: IN FLUX Cycle 10

No matter where you find yourself in Scottsdale, you’re sure to run into one of the city’s many works of public art. IN FLUX is one unique initiative exclusive to Arizona that is empowering emerging artists to innovatively apply their creativity to temporary works of public art in Scottsdale and other communities throughout the state. Learn more about IN FLUX and their 2022 additions here:  

What is IN FLUX?

IN FLUX began as an initiative formed by various art organizations in and around the Phoenix and Scottsdale area in the early 2010s. Scottsdale Public Art launched the project to provide Arizona artists with the opportunity and resources to create temporary public art installations throughout the state. 

Since IN FLUX’s inception, it has expanded tremendously, now reaching more than 53 locations across eight cities in Arizona. Thanks to the initiative’s commitment to spotlight and aid some of the state’s emerging artists, not only does the work greatly impact the artists themselves, but it also supplies communities with inspiring works of art. 

Each cycle of IN FLUX begins when they seek out submissions from artists across the state. Their team then carefully chooses a limited number of artists to commission a unique work of temporary art that becomes displayed throughout the year. This year marks the launch of IN FLUX Cycle 10!’

The Magic of Water, Yuke Li, Courtesy of Scottsdale Public Art

IN FLUX Cycle 10

IN FLUX Cycle 10 introduces 13 new artists and artworks throughout six cities in Arizona, including four unique pieces that will live exclusively in Scottsdale. Installations for the temporary artwork in Cycle 10 concluded in June of 2022, and each piece will be on display for a minimum of a year. Here are the four artists featured in Scottsdale:

Hector Ortega 

Reliance

Found on the northeast corner of Scottsdale Road and Oak Street

Installed May 25, 2022, through June 30, 2023

Christopher Luber

Fragmented Reflection 

Found on the northeast corner of Scottsdale Road and Roosevelt Street

Installed May 25, 2022, through June 30, 2023

Yuke Li 

The Magic of Water

Found on the south side of Thomas Road between N 81st Way and N 82nd Street

Installed May 9, 2022, through June 30, 2024

Shirley Wagner 

Zenith, Surge, and Bliss

Found at Miller Plaza on the northeast corner of Miller Road and Indian School Road

Installed June 28, 2022, through June 30, 2023

Reliance, Hector Ortega

We’re ecstatic to see more of the stunning artwork helping to bridge the Valley into one community and celebrate the talented artists included IN FLUX Cycle 10 and future cycles. Make sure to observe the temporary artwork yourself throughout the next year before IN FLUX Cycle 11 welcomes a new group of emerging artists!

Chicago Public Art: Art on TheMART

Chicago is home to a myriad of stunning public art experiences, where each complement their encompassing environment. In this spirit, the city’s largest work of public art, and the largest permanent digital art project in the world, Art on theMART, embraces its surroundings unlike any other installation in Chicago. 

The now-beloved contemporary art project originated in September of 2018 as more than 30,000 fled to the Chicago Riverwalk to watch the historic Merchandise Mart building transform into a work of art. Following its launch, Art on theMart has hosted nightly projects created by countless artists, ranging from the current exhibitioner Nick Cave to the inaugural artist Jason Salavon

Every evening, 34 projects – sprawled across the Riverwalk itself – help project multiple works of digital art across its 2.5-acre facade. TheMART takes advantage of the latest immersive art technology, using various mapping techniques to ensure every projection fits perfectly to the Art Deco details of theMart. 

While all of the projections showcased at Art on theMART utilize the giant facade of theMart to showcase bright colors and complex imagery to catch the attention of viewers, the installations also comprise bespoke audio elements, creating an even more immersive experience.

Art on theMART, THINKING OF YOU. I MEAN ME. I MEAN YOU, Barabara Kruger

Current exhibitions include explore by Jonas Denzel and Billiken by Shkynna Stewart and Wills Glasspiegel beginning at 9 p.m. and at 9:30, Ba Boom Boom Pa Pop Pop by Nick Cave, running concurrently with the Furthermore installation at the Museum of Contemporary Art Chicago. Only a 15-minute walk from Optima Signature, prime locations to witness the marvelous exhibition are found across the river from theMart on Chicago’s Riverwalk and West Wacker Drive.

Ellison Keomaka Art at Optima Lakeview

Optima Communities wouldn’t be the same without the striking artwork that fills their public spaces, ensuring a playground of form and color around every corner. Recently, we sat down with artist Ellison Keomaka – who previously contributed to 7140 Optima Kierland and our other Arizona properties – to discuss the process and inspiration behind the 80 unique artworks that now call Optima Lakeview home. 

What did the creative process look like when first conceiving and planning the artwork? How did the architecture and design of the building influence and inspire your piece?

When we first began talking about the project, I didn’t realize I was going to be creating artwork for the majority of the building, which was kind of a first for me. And after touring Optima Lakeview in 2021, I realized that I was going to be able to take advantage of its grand layout. 

Funlove 0022 and 0011 by Ellison Keomaka at Optima Lakeview

I set out to create a modular system where I could make everything unique. And yes, some paintings share the same colors, but each one is still different. I created the paintings in sets of, on average, seven pieces, separated by size and painted to adapt to any space. My ultimate goal was for building residents and visitors to see something new when walking the corridors and never see the same painting twice. So that was my aesthetic mission — to create an experience for the people in the building to have an indoor gallery where they can see all these different pieces come together. 

We’ve learned that you’re often experimental, using anything from soil to fabric to add texture to your artwork – what materials did you use for these particular pieces, and why?

I used a significant amount of spray painting here. Street art has been a huge influence on my career and I wanted to incorporate that into my work. I find spray paint offers a very unique texture, so I used it liberally in these particular paintings. I also used pages from magazines, many of which were from the 50s and 60s. In a few of the works, I was able to incorporate original Chicago Cubs advertisements as a way to add a subtle historical element. 

Ellison Keomaka working on the Creamsicle series, Courtesy of Ellison Keomaka

What role does color play in this work?

I worked with Optima’s signature use of bold, bright contrasting colors when creating much of the work. When I toured Optima Lakeview, I was able to see the colors of the atrium, specifically the vibrant red beams used throughout the skylights. And even though the building wasn’t completely finished, I knew exactly what color palette I wanted to incorporate.

I also tried to push the envelope with some of the colors. Some of the blues are off-blues or a little bit away from the primary color. And then there are the paintings that are yellow, red and blue – Primary 3 – that look simple but were actually very challenging for me in their own way because, as an artist, I always like to do more instead of trying to do less. There are also spray-painted pieces that include brownish blues, called Smores, which I originally called Earth Wind and Fire after the band from Chicago. They include this coffee brown with really bright blues mixed into it, which I thought was a fun way to bring warmth into the pieces while still maintaining a bold standard of color.

Airmax 001 by Ellison Keomaka at Optima Lakeview

You’ve talked to us before about how working with music is a large part of your artistic practice. Did music have any role in your creative process for Optima Lakeview’s art?

I think it always does for me. For the first pieces I created, the YBG series, I remember listening to The Weeknd’s After Hours album. I had all of the pieces lined up and was dancing around, having so much fun with them. It was almost like a childlike experience where I didn’t have any rules and was very free with the motions. There was no rhyme or reason, and I let the shapes do their thing. I used an acrylic paint pen to pull some bold black sweeping lines. They reflected the freedom of movement I felt while listening to music. So again, the music made it pretty fun. 

Ellison Keomaka working on the Creamsicle series, Courtesy of Ellison Keomaka

Four particularly special pieces live in Optima Lakeview’s lobby – the Mindscapes. How do those differ from the other pieces in Optima Lakeview and what makes them so unique?

The Mindscapes are a grand project I’ve been developing for the past couple of years. They’re each a visual time capsule that are just really fun to observe. They capture a dream state of imagination with abstract colors and shapes but then incorporate these very clear images of historical moments or memories. Everything found in them is relevant to Chicago, from old newspaper clippings about Lakeview restaurants and high schools to Cubs momentos. Each piece is totally unique, and they all include little hidden stories. Again, I wanted people to be able to walk around, stare at a painting for a little while and come back to see something they hadn’t seen before. 

A piece from the Mindscapes series by Ellison Keomaka at Optima Lakeview

Anything else we should know about the creative process for this piece or the work itself? 

A few of the pieces are inspired by landmarks in the neighborhood, specifically Red Totem, which is based on Kwanusila found in Lincoln Park. When I was doing my research on the community, I found the totem and liked the colors, which I then used in the painting. Others, like the Fun Love series, were more dynamic because they all had the white splatter that almost becomes energizing when you look at them. Those took the longest time for me to feel like they were complete, because of all the layers of paint that had to dry. 

The 80 paintings that fill Optima Lakeview mirror the vibrant aesthetics that we strive to create in our communities. As with every piece of artwork that we display in our built environments, Ellison Kemoaka’s bold and inspiring work brings a unique story for residents as well as anyone who passes through the space to discover. 

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