The City of Portland is currently undertaking massive sewer repair work, cutting right through the middle of Sunnyside Piazza. The sunflower is completely worn off and we have lost most of the native plants at the intersection. A full restoration of the iconic sunflower and intersection is needed.

The 2020 Community Event is tentatively planned for Memorial Day Weekend: May 23-24, 2020.

This event also celebrates Sunnyside Piazza’s 20th year anniversary!

We need all the help we can get to bring Sunnyside Piazza back to life. Please consider donating to the 2020 restoration efforts and volunteering your time that week to help us make this happen. Keep on the Sunnyside!


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Since 2000, neighbors of Portland’s historic Sunnyside neighborhood have come together every Spring to re-paint a huge sunflower at the intersection of SE 33rd and Yamhill, one block off Belmont. Originally, without City permission, neighborhood residents came together to claim ownership of their public space and create a vibrant community gathering place.

This was one of Portland‘s City Repair’s first projects that aimed to repair and reclaim underutilized space. City Repair facilitates artistic and ecologically-oriented placemaking through projects that honor the interconnection of human communities and the natural world. City Repair provides support, resources, and opportunities to volunteers from each neighborhood project. 

The original team that created Sunnyside Piazza included Mark Lakeman (co-founder of City Repair), Dr. Jan Semenza (a neighbor and professor of public health), and Dr. Lisa Weasel (a neighbor and professor at PSU’s Department of Women, Gender, and Sexuality Studies).

In an effort to create community-oriented spaces, artist Brian Borrello designed a huge orange sunflower, inspired by Fibonacci spiral geometry, in the middle of the intersection and installed multiple art pieces at each corner. Ever since then, engaged residents have turned this intersection into a space for art, expression and community building. 

In 2003 an academic study entitled “The Intersection of Urban Planning, Art, and Community Health: The Sunnyside Piazza” was lead by Dr. Semenza, and interviewed over 700 residents. Findings suggested that the community experiences more happiness, health and safety because of the repair. The Piazza also became a a central point of the Sunnyside Neighborhood and Historic Belmont Main Street, in the heart of Southeast Portland. It blossomed into a community cooperative movement that has cultivated social connectedness and a sense of community that gains momentum every year.

A lot of planning and effort goes into making this happen every year. Starting months before the event, organizers start planning. They canvas the neighborhood getting the required signatures for the block party permit, so they can close the intersection off to traffic and provide their community with a safe space to spend the weekend together, re-painting, talking, picnicking, and playing. They take inventory and order paint materials, repair benches, cob structures, clean-up poles, plant new flowers, coordinate a team of volunteers, and gather monetary and material donations from local businesses and the community. For the past few years, Portland Street Art Alliance has managed the project, along with fellow dedicated neighbors.

Several local businesses donate funds and supplies to help support this community event as well. Escape from New York Pizza on Belmont hosts an annual Piazza Pizza Party fundraiser in mid-May where 30% of all proceeds between 5pm-10pm go towards the project. Other local businesses, like The Sweet Hereafter and Dick's Kitchen, make significant monetary donations that help the communtiy purchase the paint and supplies needed to repaint the sunflower every year. 

What also makes Sunnyside unique is that in addition to the commissioned and organized art at the Piazza (like the painted sunflower, cob structures, mosaics, sidewalk trellises, and planter barrels), there are several un-commissioned street art interventions in the area. These unofficial pieces of art vary, but often include birdhouses, chalk boxes, metal sculptors, wooden plaques, yarn installations, and various forms of art adhered to the backs of signs and poles. Passersby tend to notice and be drawn to this community art, it is a real tourist destination. Visitors often ask questions, touch, and take pictures of these quirky interventions.

Brooklyn NY-based Portlandia star, Fred Armisen even commented on Sunnyside neighborhood’s distinct character:

At the corner of Southeast Yamhill and Southeast 33rd Avenue is the most Portland-y spot in the city. There is an artwork painted on the actual road. It’s like a sun or something. It’s too big for me to remember exactly what it is. It just looks cool and feels cool. I feel the most like I am in Portland when I stand in this spot. You’ll see what I mean. It’s residential, but there’s something about it that makes me feel very much at peace. Not like nature-guy peace. I hate that. I mean like “Hey, I am going to stand here for a few minutes and not think.” It’s quiet but you can still hear some cars go by a street over on Belmont. It feels European but still American. I stand by that description.

Along Belmont, there is a high-concentration of businesses between 33rd and 35th Avenues. Most of these mixed-use properties have high real-estate values due to their visibility and foot-traffic along this historic arterial roadway emanating from downtown. Through the 1980s and 90s, Sunnyside struggled with problems such as drug and alcohol abuse, crime, and vandalism. Younger creatives were drawn into the neighborhood by its cheap rents, historic bungalows and Victorians, and its proximity to public transit. Just a few years ago in 2010, many of the businesses along Belmont were closed and boarded up. Now, all storefronts are occupied and business is booming. Sunnyside often teems with activity. On sunny days, people fill the sidewalks, eating, drinking, taking pictures, sitting on benches, and visiting local shops. When the sun sets, the night crowd descends, frequenting the bars and pool halls on the strip.

Whether it is authorized or un-authorized by the City does not seem to concern many Sunnyside residents. They see this as their community space and their responsibility to maintain. This is an active community that feels strongly about the power of community art and access to the public spaces around them.

Follow Sunnyside Piazza on Facebook and Instagram for updates! 

All Photos: © PSAA | © Anton Legoo

The PDX Airport Mural Project

Street art is coming to the Portland International Airport. Through a partnership with the Port of Portland and Portland Street Art Alliance, two local artists, Alex Chiu and Jeremy Nichols, are creating a mural in the north pedestrian tunnel at PDX that celebrates the people, history and natural wonders of the Pacific Northwest.

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Port of Portland leaders believed it was important to showcase the diversity of the region and take a fresh approach to art in the terminal, especially in a space that many travelers pass through every day to access the parking garage. That’s why the Port of Portland partnered with PSAA to help breathe new life into the space. The goal was to create a magical and fantastic landscape, inspired by the culture and spirit of Portland and the Pacific Northwest. 

PSAA's Executive Director Tiffany Conklin said, "PSAA is excited to build this new partnership with the Port of Portland. We have always enjoyed traveling; and experiencing street art around the world is a great way to learn about other cultures and traditions. Street art enriches our everyday lives. It can help foster a unique sense of place and pride of our local communities, while also providing visitors with a way to connect and understand the PNW lifestyle."

The Port also saw this as an opportunity to celebrate an art style that is well established in Portland. While art is common at airports, partnering with artists who create large-scale murals on walls and buildings throughout the city isn’t a standard approach. Given the city’s support for street art, a partnership with PSAA felt like a natural extension of the airport’s work to bring the best of Portland’s food, culture and art and music to travelers. 

The PDX mural is part of the Port of Portland’s broader Art Program, which maintains rotating exhibits throughout the airport terminal in addition to permanent art space at PDX and the Port headquarters. The program focuses on creating space for a variety of artists in different mediums. That includes a new permanent display created by internationally recognized artist Jacob Hashimoto, which is coming to Concourse E in 2020.

“It was important to us that the mural reflect themes of community, inclusion and home,” Lise Harwin with the Port of Portland’s Corporate Communications team said. “From the beginning, Chiu and Nichols gathered ideas and inspiration from both Port employees and our community partners at Native American Youth and Family Center (NAYA), Urban League of Portland, Asian Pacific American Network of Oregon (APANO), Immigrant & Refugee Community Organization (IRCO), Latino Network and Black United Fund.”

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All images, figures and landscapes were inspired by this feedback and the desire of stakeholders to see diversity, family, sharing food and nature represented.

The artists began painting on September 10 and expect to complete the mural around October 31, 2019. When in place, the mural will have a content key to help local, national and international travelers understand who and what is pictured and why.  

Media Note: Media are invited to view the artists in action before they conclude in October and learn more about the mural’s development. Please contact Susie Rantz to find a time where the artists will be painting:

About the Artists:

Alex Chiu is a second-generation Chinese American who has two daughters, a 4-year-old and 10-month old. His parents began their careers as accountants before transitioning to help other immigrant families start their own businesses. Chiu brings his own childhood experience growing up in the United States – combined with his hope for his daughters – to inform his art. As Chui said, “My art is about redefining what being American means. America is a nation of racial diversity, immigrants and refugees, different languages, different spiritual beliefs, and different cultural practices. I want to celebrate our differences. I want people to relinquish their fears of the “other.” My art is about breaking those barriers.”

Jeremy Nichols grew up traveling regularly between upstate New York and Tokyo – his birthplace and his family’s home country – all the while growing up in the suburbs of Ohio. Like many families with immigrant roots, the contrasting cultural atmospheres confused Nichols as a child – leading him to question where to really call home. Nichols brings this “outsider looking in” approach to his artwork, combining elements of design and nature to “depict the relationship, energy and juxtaposition between nature and culture. I try to present the viewer with a sense of how I feel and see the world around me.”

Viaduct Arts

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The Viaduct Arts initiative brings vibrant community art to the streets of the Central Eastside Industrial District.

Drawing inspiration from the district’s acronym CEID, this new initiative is intended to “seed” art making as an integral part of the district’s identity as a hub for innovation and culture building. Viaduct Arts aims to ensure street art remains an integral part of everyday life in the CEID. This work aligns with several city and district community goals including public place-making and ensuring space remains accessible to artists in the district. This neighborhood-wide initiative is being spearheaded by the Portland Street Art Alliance, in collaboration with local businesses and property owners, the Central Eastside Industrial Council, Regional Arts & Culture Council, and the City of Portland's Office of Community & Civic Life's Graffiti Program.

The Viaduct Arts initiative also strives to address social and geographic disparities, specifically when it comes to gaining access to large-scale outdoor painting opportunities in the city. Therefore, Viaduct Arts outreach is focusing on connecting with Oregon-based artists living outside of the Portland Metro Area and those who identify as being a part of underrepresented communities (BIPOC+, LGBTQ, Women, Disabled, Low SES, etc.). PSAA is dedicated to creating inclusive models for place and district-making by engaging with diverse audiences and artists.

A New Mural District

As Portland experiences accelerated redevelopment and demographic changes, there is an increased urgency for the creation of spaces that welcome artists to work, grow, and thrive. The Central Eastside is long-time “industrial sanctuary.” In the early 1900s, thanks to the fertile Willamette Valley, Italian immigrants established fruit and vegetable wholesale distribution and transportation networks.  This new riverside industrial district became known as “Produce Row.” At the heart of this historic industrial area, are two parallel loading dock streets - 2nd & 3rd Avenues. These thoroughfares transect four viaducts - under the Hawthorne and Morrison Bridges that create deep cavern-like spaces cutting through the Central Eastside. This unique environment creates opportunities for large-scale artwork. With recent changes in zoning, and increased interest in development, this area is rapidly changing. Viaduct Arts aims ensure that street art remains an essential element of the district and future development.

Currently, several mural sites have been secured thanks to partnerships with Killian Pacific, Libertas Companies, All Service Moving, and Todd Hess Building Company. Several other CEID property owners are in communication with PSAA about becoming a part of Viaduct Arts.

Why Street Art is Important IN CEID

Street art has long been an important and visible part of the Central Eastside, contributing to it’s uniquely innovative and gritty character. Street art enriches everyday life, helps to build a city's identity and fosters a sense of place and pride in our community.

Call to Artists

In October 2019, PSAA will release the Viaduct Arts ‘Call to Artists,’ seeking to commission three Oregon-based artists to paint large-scale murals in CEID. This mural work will be managed and fully-funded by PSAA, thanks to grant and local business support. The aim is to establish new connections for diverse artists to push their creative boundaries and increase representation in Portland's public art landscape. Selected artists can be paired with a local mentor, who will help guide them through the mural-making process (design, mock-ups, planning logistics, supply purchases, and painting). The goal of this mentorship program is to support artists in taking risks, developing their public practice, and expanding their skill-sets. We hope that by offering this extra support, PSAA can help increase artists’ ability to engage within their respective communities to “seed” arts across Oregon.

Project Timeline

Call to Artists Oct 15, 2019

Applications Due               Dec 1, 2019             

Artist Selection                   Feb 1, 2020

Design & Review Phase Feb - Mar, 2020

Logistics Planning               Apr - May, 2020

Painting June 2020

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Consider making a tax-deductible donation to support this initiative! The grant covers artist and management time for 3 murals, but support is needed from the community to help pay for additional murals and supplies. All business donors who contribute $1000 or more will become an “official sponsor” and recognized on this website, in marketing promotions, and on social media.


Do you have a wall?

Please email us at or fill out this form:


Volunteer, help us make this happen!

PSAA is a volunteer run organization. Many of the public art projects we do depend on the community coming together to make them happen! Please fill out the Volunteer Interest Form below to get involved. 




The Portland Street Art Alliance has been awarded an Oregon Community Foundation Creative Heights in support of the new Viaduct Arts: Central Eastside Mural Art Program. For the fifth consecutive year, Creative Heights grants fund a variety of artists and cultural projects throughout the state.  Each year, OCF provides Creative Heights Grants to up to 12 of the most innovative and culturally impactful proposals by artists and groups across Oregon. Support from OCF and generous donors expand opportunities for many of Oregon’s art communities to create work that advances the state’s artistic and cultural fields and engages traditionally underserved audiences. PSAA is truly honored to be a 2018 grant recipient. Read more about Creative Heights and other exciting grant recipient projects here.

Bread & Roses Mural

Old Mack Truck Warehouse Transformed into Vibrant Mural Honoring Labor Rights History and Activism

Work has begun on a new community art space organized by the Portland Street Art Alliance (PSAA) at the Steel Bridge-head in the Rose Quarter of Portland. The warehouse, owned by the Kalberer Company, has been used as a storage facility for many decades. The property is also used by TriMet and the City of Portland for parking. The mural entitled “Bread & Roses,” honors the working-class history of this site, as being the headquarters of Mack Trucks International and being situated at the Steel Bridge head and Union Pacific railroad tracks.


The Mack International Motor Truck Corporation constructed this 35,000 square-foot building in 1924, moving their headquarters from downtown Portland to across the Willamette River. It was the largest structure in Oregon devoted exclusively to the sale and services of a single make of motor truck. At the street-level corner, was the showroom and unique movable partitions which separated new and used trucks. In the basement, there was a boiler, lockers, showers and storage for the workers. The streetcar passed right in front of the building, turning north onto what was then Adams Street. Later in the 1950s, the building was bought and used by Roberts Motors.


The new community mural includes a variety of styles, painted by about a dozen local and visiting artists. The artwork honors the working-class history of the site as being the headquarters of Mack Trucks International and its location at the Steel Bridge head and Union Pacific railroad tracks. The mural pays homage to the struggle for workers’ rights.

Mural of Rose Schneiderman by N.O. Bonzo

Mural of Rose Schneiderman by N.O. Bonzo

The painted doorway mural by Portland-based artist N.O. Bonzo is a homage to Rose Schneiderman the Polish-American feminist and one of the labor union leaders who led the 1912 labour worker strike. With her activism, Rose drew attention to unsafe workplace conditions following the tragedy of the Triangle Shirtwaist Factory and was one of the founding members of the American Civil Liberties Union. Rose is credited with coining the phrase "Bread & Roses," to indicate workers’ rights to something higher than subsistence living. For nearly half a century, Rose worked to improve basic human rights including living wages, decent hours, and safe working conditions for women – the symbolic “bread.” She also tirelessly worked for “roses” such as schools, recreational facilities, and professional networks for trade union women, believing working women deserved more than meager subsistence. The legendary graffiti artist, GATS painted their signature masked figure across the top of the building along with a slogan that reads “The worker must have bread, but she must have roses too”- a popular slogan used during this uprising. Supporting the theme of worker and women’s rights, visiting Miami artist Claudio Picasso painted a portrait of Marie Equi (1872-1952), a doctor in Portland, devoted to providing care to poor patients.

Mural by GATS.

Mural by GATS.

Mural of Marie Equi by Claudio Picasso.

Mural of Marie Equi by Claudio Picasso.

Commenting on the mural work’s message, N.O. Bonzo stated, “We know that many of the conditions that workers struggled against in 1912 are still experienced today by peoples worldwide. Exploitation, sexual and physical violence, wages which do not meet our needs, and conditions designed to alienate and isolate us. This piece celebrates both our victories and our current and future struggles till the day we all are free.”

The artist team painting the backside of the building include rail-hopping graffiti artists, Maddo, Clamo, and Boycott Yourself. This trio’s murals depict railroad and industrial-inspired imagery, including a horse and chicken - symbolic of early urban ties to rural life. The roses represent Portland’s strong working-class women throughout its history, and the chain represents the capitalistic and male-dominated political and social system that often prevents them from blossoming into their fullest potential.

Mural by Maddo and Clamo.

Mural by Maddo and Clamo.

This rotating art project is a win-win for local and visiting artists and property owners alike. Artists have space to build their portfolios and show new work, and property owners are giving back to the local community. This collaboration gives the thousands of commuters that pass this building every day a rotating splash of color that invigorates this once grey intersection.

Mural work by Jeff Sheridan.

Mural work by Jeff Sheridan.

This project is also the result of new exciting partnerships for Portland Street Art Alliance, including ongoing sponsorship from Metro Paint and Miller Paint. “Supporting Portland Street Art Alliance is a way for Miller Paint and our partner MetroPaint to stay connected to the artist community in Portland. Our founder, Ernest Miller, was a muralist himself back in the 1890s when he founded our company on the promise to make paint specifically formulated for our Pacific Northwest climate” says Puji Sherer, Color Marketing Manager for Miller Paint.

Buildings such as this can be an important part of Portland’s public art landscape. They provide easily accessible spaces for artists to explore new techniques, build their portfolios, and interact with each other in a safe, comfortable, and open urban setting. Unlike commissioned murals, these community projects are much more organic and don’t have any planned sketches or timetables. Each team of artists choose their color scheme, designs, and make their own schedules. Artists are provided creative freedom and the opportunity to foster unique spaces for innovation and experimentation. PSAA manages the logistics, including securing the city’s original art mural permit and sponsorship, arranging for site access, managing painting logistics, media inquiries, and documenting the physical and social history of the site.

Participating Artists (More to Come Soon!):

  • GATS (@gatsptv)

  • NO BONZO (@nobonzo)

  • MADDO (@murky.mind)

  • CLAMO (@imminentdecay)

  • BOYCOTT YOURSELF (@boycott.yourself)

  • OUCH (@ouchey)

  • CHET MALINOW (@chetmalinow)

  • DEPTHS (@horrible_kreatures)

  • OTHER (@other0ne)

  • JOINS (@desertstocross)

  • RAIN (@rizainwashizere)

  • JEREMY NICHOLS (@plasticbirdie)

  • CLAUDIO PICASSO (@cpwon)

  • JEFF SHERIDAN (@jeffsheridan)



Sunshine Dairy

Logo Desi gn by Forrest Wolf Kell

In the Spring of 2019, PSAA was approached by Eastbank Development about a new property they had just acquired, the Sunshine Dairy factory - a 39,000-square-foot plant located at 801 NE 21st Avenue, in Portland’s Kerns Neighborhood. Sunshine Dairy is iconic for not only their milk products, but also their massive spinning milk carton that sits atop the roof of the building. In May 2018, Sunshine Dairy filed for Chapter 11 bankruptcy, closing their historic location after 83 years of dairy production. The Oregonian newspaper reported that Sunshine's bankruptcy reflects changing dynamics in the dairy industry, Boverman said, driven primarily by consolidation among dairy producers and grocery chains, which has given the supermarkets more pricing power.

Given the Sunshine Dairy factory has structural foundation issues, Eastbank Development decided to redevelop the site. This was not surprising considering it is in prime location, right off I-84. This building was originally constructed in 1935, and has unique industrial zoning, which allows for both residential and mixed-use development at the site.


Eastbank had caught wind of PSAA’s recent projects in the Central Eastside - the Produce Row Mural at Coast Auto Supply, and the Taylor Electric Project at Clay Creative. Realizing that the factory would be sitting vacant for almost a year, Eastbank decided to activate this space with street art until its demise. With the help of a donation, PSAA was able to arrange for four teams of artists to completely cover the factory building with fresh new art of their choosing. PSAA covered most of the paint costs, and artists are donating their time to make this happen. Over 30 artists are now on display on walls of the factory. This temporary and rotating art project is a win-win, where local artists can have space to practice and play, and developers can work together to activate new public spaces and give back to the local community. Neighbors come by everyday to check out the new art, and cars tend to slam on their brakes as they see the new splash of color in the neighborhood.

Hand of Dogg has been hard at work for over a month on this massive mural, using only brush work. Photo: Paul Landeros

Hand of Dogg has been hard at work for over a month on this massive mural, using only brush work. Photo: Paul Landeros

Aerial view of Sunshine Dairy. Photo: InvoicePDX

Aerial view of Sunshine Dairy. Photo: InvoicePDX

The mural wall along SE 20th was managed by InvoicePDX and Hand of Dogg and displays a mixture of classic graffiti-style text, and hyper-realistic sign painting techniques. Participating artists in the first round of painting include: DETR, YATSE, YUCKO, COPS, GIMER, ENVY, FNGER, AT ME, KENRO, and GRISLE.  Photo: Paul Landeros

The mural wall along SE 20th was managed by InvoicePDX and Hand of Dogg and displays a mixture of classic graffiti-style text, and hyper-realistic sign painting techniques. Participating artists in the first round of painting include: DETR, YATSE, YUCKO, COPS, GIMER, ENVY, FNGER, AT ME, KENRO, and GRISLE.

Photo: Paul Landeros

Each side of the building was organized by a different Team Captains, so each side of the building has a distinct style and vibe. PSAA aims to empower local leaders in the arts through projects such as Sunshine Dairy. The wall along NE Pacific St (pictured below), was managed by JOINS, and the mural was a collaboration between JOINS, Jeremy Nichols, and RASKOE. Jeremy wanted to practice his new hyper-realistic rendering of animals that he started painting in the Dallas recently for another large-scale mural. The bears were all done using aerosol spray paint and took Jeremy about 2 weeks to complete, along with the forest background. RASKOE came in underneath along the bottom portion of the wall, adding 3D wildstyle graffiti pieces, masterfully blending these two unique styles.

JOINS laying down the lines. Photo: Tiffany Conklin

JOINS laying down the lines. Photo: Tiffany Conklin

Spaces like Sunshine Dairy are important pieces of our public art landscape, as they provide easily accessible space for artists to explore new techniques, build their portfolios, and just interact with each other in a chill and fun setting. Unlike commissioned murals, these community projects are much more organic and don’t have any planned sketches or themes. Each team of artists chooses a general color scheme, and their own schedules. Artists are provided very open creative freedom, which provides spaces for innovation and experimentation. PSAA manages all of the logistics, securing the mural permit, arranging for site access, media inquires, sponsorship, and documentation.

In-progress mural along NE 21st Avenue, managed by Galen Malcolm of PSAA. Art along this wall included work by EKOSE, NEKON, NOTES, ADJUST, GIVER, VIDEO, FIBER, ABNR, KANGO, and Level Headed Press.  Photo: Paul Landeros

In-progress mural along NE 21st Avenue, managed by Galen Malcolm of PSAA. Art along this wall included work by EKOSE, NEKON, NOTES, ADJUST, GIVER, VIDEO, FIBER, ABNR, KANGO, and Level Headed Press.

Photo: Paul Landeros

EKOSE working on a robotic character towering over the city below. Photo: InvoicePDX

EKOSE working on a robotic character towering over the city below. Photo: InvoicePDX

Detail of KANGO’s piece. Photo: Tiffany Conklin

Detail of KANGO’s piece. Photo: Tiffany Conklin

Artist at work at Sunshine Dairy. Photo: Tiffany Conklin

Artist at work at Sunshine Dairy. Photo: Tiffany Conklin

In-progress mural wall managed by the MLS crew in Portland, OR. Still in-progress. Line-up TBA!  Photo: Tiffany Conklin

In-progress mural wall managed by the MLS crew in Portland, OR. Still in-progress. Line-up TBA!

Photo: Tiffany Conklin

Photo: Tiffany Conklin

Photo: Tiffany Conklin

Final shot of wall along SE 21st Ave, managed by InvoicePDX. Photo: InvoicePDX.

Final shot of wall along SE 21st Ave, managed by InvoicePDX. Photo: InvoicePDX.

Mural work by GATS. Photo: InvoicePDX.

Mural work by GATS. Photo: InvoicePDX.


By Josie Allison

In the 1930s, John Karamanos, a Greek restauranteur, wanted to start a dairy delivery service for his friends and founded Sunshine Dairy products. At the time, Portland was home to 50 independent dairy processors.

For the next 83 years, Sunshine stayed committed to serving local food service industry, local manufacturers, and local retailers and co-packers with their personalized delivery and steadfast dedication to high quality, naturally-produced products. By 2018, Sunshine Dairy was a fourth generation, family-owned operation.

The company gained organic certification and was consistently committed to producing the highest quality dairy products through specialized processes that produced superior, fresh taste. Every load of milk was screened for antibiotics and surpassed the federal standards of quality and safety. Sunshine was devoted to the philosophy that natural is better.

Since the development of the bovine growth hormone rBST in 1994, the company sourced from farmers who signed an affidavit not to inject their cows with the artificial stimulant and sought to support farms with sustainable farming practices. In return for their promise, Sunshine paid the farmers a premium to compensate for the economic benefits that using the artificial hormone would have brought. In order to keep their prices low, the company was willing to accept smaller profits from each gallon of milk. In 2001, Sunshine officially became the first dairy in the region to buy exclusively rBST-free milk. The company reaped the rewards from their dedication to natural products as organic milk sales began to rise after growth hormones were increasingly introduced into mainstream dairy.

One of Sunshine’s largest vendors was the Farmers Cooperative Creamery (FCC), whose members are nearly all small to mid-sized, family farmers from the Willamette Valley in Oregon, and Chehalis and the Yakima Valley in Washington

The shifting climate of the dairy industry and the consolidation of dairies throughout the U.S. pushed Sunshine Dairy into bankruptcy. Sunshine signed an agreement with Alpenrose Dairy, another company founded in Portland.

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Thank you to our project sponsors!

© All Rights Reserved. Logo Design by Forrest Wolf Kell

A Walk Through Time Mural

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In July 2019 artist Jeremy Nichols completed a large-scale mural in Downtown Tigard. The mural, entitled A Walk Through Time, is a interwoven tapestry of Tigard’s history and culture along the Fanno Creek corridor.

Working with local historian, Sean Garvey, and ecology specialists in the city, Nichols’ design incorporates images from Tigard’s past. The mural depicts a member of the Kalapuya tribe (the indigenous inhabitants of the area) alongside native flora and fauna, including Red-tailed Hawk, Western Painted Turtle, Great Blue Heron and Oregon Iris and Camas flowers. Nichols hopes that the mural will raise awareness about the original inhabitants of the Tigard area, as well as the local ecosystem. “It is important to me to create a mural that will stay relevant and be enjoyed by generations to come. I wanted to create a design that steps away from the norms of ‘traditional cultural’ murals and create a design with a more contemporary approach that is equally informative and significant,” says Jeremy Nichols, the artist designing and painting the mural. 

Mural Design Concept

Mural Design Concept

Located at 12553 SW Main Street, the mural is directly adjacent to the popular Fanno Creek multi-use trail on the recently renovated building home to several new Downtown Tigard businesses including Frameabl, Versus Board Games and Senet Game Bar. Building upon previous arts initiatives led by the City of Tigard and non-profit Tigard Downtown Alliance the mural will aid in the ongoing revitalization of downtown Tigard. Dylan Dekay-Bemis, the City of Tigard’s Economic Development Coordinator, believes the project will “increase access to art in Tigard, help improve walkability in downtown and draw attention to the great local businesses housed within the building where the mural will be located.”

In recent years, art initiatives have driven commercial success and interest in Downtown Tigard, including the annual Downtown Art Walk event, gateway art sculptures by artist Brian Borrello, an Art on Loan program that places art leased from local artists in locations around downtown, and the award-winning SubUrban street art exhibition. 

Artist Jeremy Nichols working on the Walk Through Time Mural in Tigard. Photo: Paul Landeros

Artist Jeremy Nichols working on the Walk Through Time Mural in Tigard. Photo: Paul Landeros

Portland based non-profit Portland Street Art Alliance (PSAA) facilitated the commissioning of Jeremy Nichols for the City of Tigard and will continue to assist the City in managing this mural project. PSAA Executive Director Tiffany Conklin explains that “the quality of our shared public spaces speaks volumes about what we, as a society, believe to be important. Public art projects like A Walk Through Time not only bring more cultural vibrancy and interest to a place, but ensure that everyone has the opportunity to experience art in their everyday lives.” The mural took Nichols 10 days to complete.

A Walk Through Time was funded through the City of Tigard’s Lighter, Quicker, Cheaper (LQC) program.  LQC projects are inexpensive but impactful actions that improve walkability, connectivity and health in Tigard.

Final Mural by Jeremy Nichols

Final Mural by Jeremy Nichols

All Photos © Portland Street Art Alliance @ Paul Landeros


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Taylor Electric BLOCK PARTY 2020



The Taylor Electric Project at Clay Creative, is a collaborative, open-air street art gallery that features the work of over 100 artists. For over a decade, the ruins of the Taylor Electrical Supply Company, located on 240 SE Clay St., became a Portland nexus of local, regional, and national graffiti and street art following a fire that left only the burnt-out husk of walls, a perfect canvas for street art within Portland’s ever-changing Central Eastside District. In 2015, what remained of the building was demolished but with the support of Killian Pacific, Portland Street Art Alliance is collectively rebuilding the Taylor Electric Project into a haven for street art once again. Portland Street Art Alliance manages the painting at Taylor Electric and annually co-hosts an all-day all-ages event with the help of For the Love that includes live-paintings, artist commissions, live music, a dance battle, local pop-ups, food carts, local beer, skateboarding ramps, and more. Thousands of people come out to celebrate Portland’s vibrant public art communities. The annual block party is truly a DIY community-centered and driven event, made possible with the support from local sponsors, volunteers, and artists. 


GATS Mural - Taylor Electric Project Summer 2018 - Photo Credit Tomas Valladares.JPG


Please consider volunteering, vending, donating, or sponsoring the Taylor Electric Block Party event. Date/Time TBA in SUMMER 2020. All of the PSAA and For the Love management team donates their time up front, works together, and makes this all happen! Contributions are tax-deductable. 


2018 Block Party Recap



© All photos copyright of credited owner. Do not use without permission. 




For over a decade, the burnt-out ruins at SE 2nd and Clay served as Portland's most famous space for graffiti– a free open art gallery that attracted artists and onlooks from near and far.  

Built in 1936 by the Loggers & Lumberman’s Investment Company, the warehouse at 240 SE Clay (previously 352 E Clay St) served as a home to many different businesses through its lifetime at its picturesque location at the east-end of the Central Eastside Industrial District. In the 1990s, the Rexel Taylor Electrical Supply Company purchased the building and used it as a storefront and warehouse for electrical supplies.

On the night of May 17, 2006, a stack of pallets outside the building caught fire. Fueled by the electrical supplies inside, a massive 4-alarm fire broke out. Over 125 fire-fighters from Portland and nearby cities worked around the clock trying to extinguish the blaze and protect nearby buildings. Burning for over 24 hours, the fire sent a river of debris into the nearby Willamette River.