Time To Get Down

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THE GET DOWN

SOUTHEAST, PORTLAND

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Geometric wizard Xavi has transformed a drab space in SE Portland in to a funkadelic spot to get down! His colorful abstract aesthetic was the perfect fit to bring this new Portland venue to life.

Using the newly created branding as inspiration, Xavi created a series of record-like shapes across the bar area’s two main walls. Behind the bar the wall is accented by more abstract circular patterns that perfectly frame the Get Down’s neon sign. The same record style is extended to the front entrance and the logo was painted on the interior wall, greeting guests as they enter the venue.

The Get Down is a versatile event and music space, equipped with state of the art sound and lighting equipment. See the their full event calendar at thegetdownpdx.com

Finished interior photos provided courtesy of the The Get Down.

Ladies Up

Artist Kyra Watkins getting started on her first mural in Portland, OR.

Portland Street Art Alliance’s Ladies Up Project brings new murals to SE Portland, all by female-identifying artists based in Portland, Oregon.

The Ladies Up Mural Project is located at Morrison Place at 1401 SE Morrison St, (along SE Alder St & SE 15th Ave). This mural project was made possible thanks to a partnership with the property owner Killian Pacific, sponsors Miller Paint and Metro Paint, and donations from neighborhood association residents.

This mural space is part of a unique donation-based community mural program, where PSAA is provided full curatorial control and artists are provided considerable open creative freedom in their work.

For this collaboration, PSAA chose a broad theme: a line-up of emerging local female-identifying artists. Female/femme/non-binary artists are highly underrepresented when it comes to overall access to painting in public space. As a result of this gender inequity, not all perspectives and stories are being told in our artistic landscape. Street art is a very male-dominated culture, so PSAA has been working to create opportunities and safe spaces for female-identifying muralists to paint.

MEET THE MURALISTS

SPRING 2022

The first piece along SE 15th Avenue was painted by Villatose is an interconnected wonder, with two women intertwined by hair and hands in a passionate embrace. The next work by Lynsee Sardell features a magic scene with open hands and soft colors popping atop rays of light. The third panel by Bernadette Little depicts a stunning stylized portrait in her signature style. The last mural is a beautiful tribute to a dearly departed friend, painted by Brenda DePriest.

WINTER 2021

In November of 2021, PSAA teamed up with the Independent Publishing & Resource Center (IPRC) to organize two more murals at Ladies Up by Laura Camila Medina and Angela Saenz. Laura is current working on their MFA at Yale School of Art. Angela Saenz originally from Omaha, NE creates paintings and drawings rooted in personal observation of the human experience.

SUMMER 2020

Along SE Alder Street, you will find the original line-up of the Ladies Up murals painted during the height of the racial justice protests the Summer of 2020. Tatyana Ostepenko was born and raised in Soviet Ukraine and painted three Babushkas gazing out onto a rural Ukrainian landscape. Salomée is a bilingual designer with Algerian and Peruvian decent born in Switzerland who has went onto launch a successful mural career after painting this mural. Amaranta Colindres was born in Santa Ana El Salvador and raised in California and painted a powerful tiger using all spray paint. Isis Fisher born and raised in Hawaii painted a trippy pair of figures using only black and white. Kyra Watkins originally from Cincinnati, Ohio painted a man with a parrot on their shoulder and has went on to start a youth program mentoring foster kids in mural art. Sunny Beard is a tattooist and cancer thriver, originally from Reno, NV, who painted a detailed snake along with red carnations. Finally, N.O. Bonzo a Portland-based contemporary artist who is known for their feminine images and hard hitting political content.

This project is part of PSAA's Community Art Program, where property owners and the community provide donations to support public art projects that are fully curated by PSAA. Selected artists are provided small stipends for their work, along with very open creative freedom to produce work that they want to add to their portfolio. This program often supports emerging artists, experimentation, and innovation.

“Imagine a New Sisterhood” Mural by Laura Medina and Angela Saenz, in partnership with IPRC.

Muralist Amaranta Colindres uses aerosol spray paint to create her mural, while other participating artists use brush work and latex paint.

“As an organization, Killian Pacific believes that fueling creative expression in our city leads to healthy vibrant communities. We strive to celebrate the arts in each of our projects and have been privileged to work with the PSAA team on many murals and installations throughout our portfolio. The “Ladies Up” mural project spearheaded by PSAA is one of our favorites to date, as we truly appreciate the intent to support local female-identifying artists in creating an all-women’s mural wall in the city of Portland. Additionally, we feel that in supporting artists during the unprecedented times we are experiencing today we are not only supporting individuals, but also providing beautiful, artistic moments of hope for everyone to enjoy. - Chelsea Rooklyn, Killian Pacific ”

SPONSORS AND PARTNERS

The Central Eastside Mural District is funded, in part, by the Regional Arts & Culture Council, Prosper Portland, the Oregon Arts Commission, and the Central Eastside Industrial Council’s Central Eastside Together grant program. Additional support from Buckman Neighborhood community members; Dylan Huff and Katherine Kiely.

Vernonia Mural Festival

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VERNONIA MURAL FESTIVAL

VERNONIA, OREGON

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October, 2021 (Portland, OR) – Portland Street Art Alliance is pleased to announce the completion of eight new murals in downtown Vernonia. Working alongside PSAA, and local resident Rachael Organ, the Columbia Economic Team secured a grant from Travel Oregon to help beautify downtown, selecting several walls around town to be painted with murals. 

Artists Oliver Casillas and Francisco Morales

This fall, six Pacific Northwest based artists came together to paint at various sites through downtown Vernonia. Artists Jeremy Nichols (@plasticbirdie), Francisco Morales (@laylowcreative), Maddo Hues (@yomaddo), Hayden Senter (@chairboy), Oliver Casillas (@casillas_oliver) and Dan Lee (@bigtroublehandpainted) weaved together stories of Vernonia’s past and present, all while creating art to help expand its future. The area features a variety of outdoor activities including camping, biking the lush Banks-Vernonia trail and fishing on Lake Vernonia. Vernonia’s outdoor beauty combined with its restaurants, shops and murals make Vernonia the perfect locale for a taste of rural Oregon with an urban flair.

Panels from Artist Maddo Hues mural at R&S Market.

With materials ranging from latex to spray paint, artists worked in a variety of styles to create a vibrant mosaic of new public art in Vernonia. While concepting the mural artists worked closely with community members and building owners to bring the best of Vernonia to the walls of its downtown.

Themes include both historic and modern-day commerce – with highlights honoring Vernonia’s rich logging history and references to the historic Vernonia Oregon Lumber company and railroad, the region’s flora and fauna, local outdoor recreation, and Vernonia’s cinematic history.

Since Vernonia is over an hour's drive from Portland down winding roads in the mountains, artists stayed at the Caden Inn, located in downtown Vernonia. This unique experience allowed artists time to enjoy the charming town, eat at its restaurants, and to interact with residents.

I felt like I was a part of Vernonia for that week or two. Seeing the same kids run around the block, or the same few people who couldn’t sleep at night coming up and talking when I was wrapping up painting for the day. I feel lucky being able to paint in a place where public art doesn’t happen that much or at all.”
- Hayden Senter

“Painting in Vernonia was truly an incredible experience. I did not know a lot about this area beforehand. Through my time there, I fell in love with this town. It’s amazing to learn so much about a town and the locals in just a few days. The local community was welcoming, supportive, and very excited to see all of us brighten up the town. Being able to interact with the locals, I was able to learn about their history, the history of the town, and the local culture.”
- Jeremy Nichols

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INAUGURAL VERNONIA MURAL FESTIVAL

On September 4, as artists were wrapping up, Portland Street Art Alliance, local non-profit Hands on Art, and community members across town, held an Inaugural Mural Festival to unveil its new gallery of public art. 

Attendees chatted with artists, took photos, and even created a bit of art themselves with chalk provided by Hands on Art. Community members from Hands on Art also hosted a mural festival information booth, handing out maps so people could find the new artwork.

People came by foot, car and bike to see the artists in action and to take in a beautiful rural Oregon day. Both locals and tourists alike enjoyed talking with the artists, learning more about the process and the inspiration behind the art and, of course, taking photos. 

The new public piano, painted by artist Oliver Casillas was put to good use at the festival as locals serenaded passersby with piano and mandolin music. PSAA directors Tomás Valladares, Tiffany Conklin, and Galen Malcom were at the festival talking to locals and visitors, taking impromptu groups of people on mural tours throughout the day.

After the festival wrapped a seventh mural featuring scenes from the classic 1961 film, Ring of Fire, was completed by artist Dan Lee on the side of the old Joy movie theater.

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COMPLETED VERNONIA MURALS

Mariolino's Pizza - Artist Francisco Morales, Assisted by Oliver Casillas

For the festival, artist Francisco Morales created a vibrant mural with call-outs to Vernonia's logging traditions both past and present. The mural also features visual cues to Vernonia's classic car (and motorcycle) meetups that begin in Vernonia and zip through mountains of the Coast Range. White trilliums that dot the bottom are native to Vernonia’s forest in the spring.

Extra, Extra!

This location had extra space on its walls, and visiting artist Oliver Casillas (Talent, Oregon / Guadalajara, Mexico) was able to create an impromptu mural during his stay. Casillas was also able to paint another impromptu project, thanks to a local resident donating an old piano that was painted with leftover supplies. It now resides in one of Vernonia public plaza’s for all residents to use and enjoy.

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Black Iron Grill + Island Grill - Artist Jeremy Nichols

During his stay, Jeremy Nichols completed two murals in Vernonia. The first mural, located on the back of the Black Iron Grill, focused on the local bird species found in the area. The great white egret can often be spotted at Vernonia Lake, while the red-winged blackbird is common at sites across the area. The stumps lining the base of the mural are a nod to local loggers. 

Nichols’ second mural is located in a community park/alleyway next to Island’s Grill. Featuring a rooster, strawberries and local greens, this mural was a homage to area farmers and Vernonia’s farmers market.

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 Rock Creek Professional Building -  Artist Hayden Senter

Mural by Hayden Senter

Artist Hayden Senter enjoys painting subtle scenes derived from his surroundings. His murals tend to contain antique and discarded objects that are often overlooked. 

Senter’s double mural gives the viewer the impression of looking from one window and seeing through it to the mural on the other side.

On the front panel, entangled in wildflowers, sits an old bicycle parked next to a wooden window pane. On the right side of the window rests a glimmer of Vernonia’s past - a rusted steam donkey. A steam donkey, or donkey engine, was a steam-powered winch once widely used in logging. Abandoned and rusty old steam donkeys can still be found in the mountains surrounding Vernonia.

“ I hope my mural functions as a place for people to stop and look. Maybe take them somewhere else for a moment. I’m looking forward to the way people interact with these elements in my mural - that they are relatable enough to recognize as familiar - but also used differently enough to allow for a different perspective.”
- Hayden Senter

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R & S Market - Artist Maddo Hues

Gracing the entire front of the R&S Market, this multi-panel mural by Portland-based artist (and ex-train hopper) Maddo Hues tells the story of Vernonia. The tall dividing panels feature representations of natural commodities of the area with lumber, fish and flora. 

The first wide panel depicts a fisherman on the Nehalem River that runs through town. The second features bike riders on the Banks-Vernonia Trail. The last large panel on the right is an homage to the Banks-Vernonia railroad which is now the site of the Rails-to-Trails project that created the Banks-Vernonia Trail.  

“I decided to paint a handful of different scenes and objects that represent both the history and present day activities that make Vernonia such a nice place to be. I got to meet many of the locals since I was painting at the only grocery store in town. I could hardly go 15 minutes without receiving a compliment from someone. It is very fulfilling to have had the opportunity to use my skills to create something that the community of Vernonia enjoys so much.”
– Maddo Hues

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Gretchen’s Saddlery & Joy Theater -  Artist Dan Lee

Artist Dan Lee took his inspiration from Vernonia’s cinematic history. His mural is a conglomeration of scenes from the 1961 movie Ring of Fire. Vernonia is where much of the town and the burning mill scenes were filmed, including the iconic steam engine crash from atop a local trestle. Lee also recreated the type from the original movie poster to tie the mural together.

In 1961, Georgia-Pacific Corporation had just phased out its fleet of steam locomotives in its closed down Toledo, Oregon logging operations. Some locomotives went to local community parks for display, but one was sacrificed for the Ring of Fire shoot.

I feel very fortunate to have been allowed this opportunity to paint on this beautiful historical landmark and hopefully to have made something that resonates with residents in the community. It’s hard to put into words how palliative the experience was, painting in that idyllic setting during early fall, and the kind words of encouragement from those passing by. I can only hope that the rest of the projects I’m lucky enough to be a part of are as special. Thanks to all the folks at Portland Street Art Alliance, Travel Oregon and Miller Paint for the opportunity and support, and thank you Vernonia for having me! - DAN LEE

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All Eyes on Vernonia

While Vernonia has struggled economically and was hit hard by the pandemic, there are creative bright spots that make it unique. Starting with 1961’s Ring of Fire, Vernonia has enjoyed a rich cinematic history including movies such as Twilight and Vernonia’s most recent production, Harpo Film’s The Waterman. A key feature that brought the production crew to Vernonia was another creative bright spot in town, the ‘Old Mill’ or locally known as the “Chip Shed”.

The Vernonia mill, located at Vernonia Lake, was one of the last remnants from the timber mill that was set aflame in Ring of Fire. It sat empty and mostly unused for years, aside from a bit of graffiti by local kids. 

Six years ago, with the owner’s permission, PSAA began coordinating with the mill owner and visiting artists to give the Old Mill in Vernonia a second life. Since the Old Mill project’s inception, Vernonia has become an unexpected epicenter for street art, far beyond the confines of the city. This touchstone started a partnership that directly led to the creation of this mural festival.

Murals help communities create a long-lasting shared experience, as well as providing social and commercial value. By creating compelling spaces for people to visit, spend time at, and pose for photos on social media, these permanent pieces of public art will assist Vernonia with its economic recovery by helping bring in more tourism dollars – all while fostering better understanding to help overcome the rural-urban divide.

With local Vernonia support, the Portland Street Art Alliance has applied for an Oregon Community Foundation Grant in the hopes to expand the festival in 2022. Special thanks to the City of Vernonia for being so welcoming, Rachael Organ for all her hard work securing walls and helping with festival planning logistics, Paul Vogel and Wela Negelspach at the Columbia Economic Team for their administrative support, Josette Mitchell at the City of Vernonia for processing all the permits, Kyle LaMontagne for his videography support, Brenda Fielding at the Caden Inn for help with accommodations, and the entire artist team,project partners, and local community residents for all their hard work and support in making this event a reality.

Vernonia Mural Festival Locations

805 Bridge St @plasticbirdie 
735 Jefferson @yomaddo 
712 Bridge St @plasticbirdie 
622 Bridge St @chairboy_
721 Madison  @laylowcreative
919 Bridge St @casillas_oliver
715 Bridge St @bigtroublehandpainted
733 Bridge St @gatsptv 
Video Recap: https://vimeo.com/632555082

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Living Building Murals

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3 New Murals at PAE Living Building

DOWNTOWN , PORTLAND

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Artist Jessilyn Brinkerhoff in front of her coastal inspired mural.

Three new murals now grace the walls of Portland’s newest Living Building. Portland Street Art Alliance worked with PAE Engineers to produce a mural for each level of their new headquarters in the PAE Living Building in downtown Portland. Each floor depicts a different Oregon ecosystem. The third floor is inspired by the Oregon coast, followed by a forest scene on the fourth floor, and on the fifth floor; an alpine landscape.

Forest Landscape

Alpine Landscape

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Eugene-based artist Jessilyn Brinkerhoff was a natural choice to bring the Oregon outdoors in. Brinkerhoff’s rural Oregon roots along with her love of wild places and bold design made her a perfect fit.

Jessilyn spent a year completing regional research and site visits to craft a distinct look for each ecosystem. Both an experienced graphic designer and muralist, Jessilyn combined her skill sets to create three graphically compelling and visually stunning murals. 

Each mural features both flora and fauna found in each ecosystem tied together with a series of concentric circles inspired by the Fibonacci spiral. The colorways were selected with inspiration from the colors of each region. 

All materials in the building, including the mural paint, were held to the strict standards of the International Living Future Institute’s Living Building Challenge Red List. The Red List represents the “worst in class” materials, chemicals, and elements known to pose serious risks to human health and the greater ecosystem that are prevalent in the building products industry.

Brinkerhoff’s Design on Paper

“I was honored to paint for the new PAE Living Building, a truly incredible space that is paving the way for others to learn from.” - Jessilyn Brinkerhoff

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COASTAL ECOSYSTEM

The coastal ecosystem features a palette of tawny browns, pastel orange and coral colors, depicting Oregon’s rocky coast. The scene features gooseneck barnacles, razor clams, coastal climate wind patterns, kelp, waves, seabirds, coral, ocean fish, starfish, a brackish estuary, and an ancient ammonite fossil. Offshore monoliths including Haystack Rock anchor the scene.

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ABOREAL ECOSYSTEM

The Forest mural features rings of the forest ecosystem including the mycorrhizal layer, soil, the canopy, old growth trees, butterflies, fiddle ferns, earthworms, sword ferns, colonies of mushrooms, and multiple species of flowers. The colors were drawn from the hazy blue of distant trees and the vibrant yellows and greens of Oregon’s temperate rainforests.

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ALPINE ECOSYSTEM

The top floor of the PAE Living Building features Oregon’s alpine ecosystem. The mural contains clouds, rain, snow and native plants including pinecones, evergreens, fir trees, beargrass and wildflowers. The center scene highlights a snow-capped peak overlooking a tree- lined valley. The colors are inspired by the bluebird skies and powder white of Oregon’s alpine environments in winter.

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What is a Living Building?

Living Building Certification is the world’s most rigorous proven performance standard for buildings. A building that achieves Living Building Certification must meet all performance imperatives of seven Petals: Place, Water, Energy, Health and Happiness, Materials, Equity, and Beauty. Three of the most notable requirements are 1) that the building must generate all of its own energy, 2) capture and treat all of its water onsite, and, 3) meet the imperatives of the Materials Petal. Living Buildings achieve their full certification after one year of occupancy. Learn more at: https://living-future.org

Why is the PAE Living Building different?

Located at SW First and Pine in the heart of the city’s historic Skidmore/Old Town District, the mixed-use PAE Living Building is designed to be the first fully certified Living Building in Portland and the largest commercial Living Building in the world. 

Designed to last for 500 years, the approach marries the look and feel of a historic neighborhood with the highest possible energy performance and sustainability standards. Inside, healthy materials meet ILFI’s Red List requirements, ample daylight, views, operable windows, and other biophilic strategies to support occupant health, comfort, and productivity. The building is set to help achieve Portland’s 2050 renewable energy target of 100 percent renewable energy 30 years ahead of schedule. Notably, all of the building’s water and energy needs will be produced via rainwater capture, and onsite and offsite solar arrays.

MORE INFO AT: https://www.pae-engineers.com/projects/pae-portland-living-building

Photo Gallery

Downtown Details

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NEW MURAL IN DOWNTOWN PDX

PORTLAND, OREGON

PSAA is excited to share Chet Malinow’s latest mural creation, working in partnership with CBRE (@CBRE). This mural is located in CBRE’s newly renovated office building in downtown Portland, ASPECT, at 400 SW 6th Ave.

“I enjoyed the mathematics and intense planning of this project. I call this style of painting “Pill Paintings.” The solid fields of color or pills, where mapped out with a laser level to keep everything straight. Then, I filled in all the black shapes with a variation of paint pens. This work is extremely meditative, and I really enjoy filling in all the black background. I have developed the black shapes from years of drawing and learning how to use each shape to fill in a void of space.”

Upper Left Cities

READ ALL ABOUT IT!

From the authors of Portlandness comes Upper Left Cities, a new book that compares and contrasts San Francisco, Portland, and Seattle through innovative cartography. In 150 infographic maps, this compelling book compares and contrasts the great cities of the Upper Left part of the US. Upper Left Cities explores unexpected and diverse topics like lost jazz clubs, Japanese food, church bells, and Sasquatch through creative infographics leveraging forms like crossword puzzles and musical notation.

Upper Left Cities was co-authored by Portland Street Art Alliance board member and PSU Professor Hunter Shobe. PSAA Executive Director, Tiffany Conklin has also co-written a section about the graffiti scene in these great west coast cities.

Custom Fonts by Galen Malcom

Graffiti section co-written by Tiffany Conklin

Upper Left Cities redefines modern cartography by going into uncharted territory to create a narrative about three great cities through informative and detailed infographic maps. Who needs Rand McNally when you can explore a city by taking a trip through wildlife and city trails or by drilling down into your city's voting records, commutes, marathon routes, and food and drink patterns? Better yet, why not compare three great cities at once?

The work of two geographers and their team, this cultural atlas includes more than 150 maps, each using data around a given topic and then translating that to a visual format that blends traditional cartographic skills with modern graphic design. A perfect blend of form and function, each map is meticulously and ingeniously designed. The collection of maps cover history, geography, social and economic issues, and pop culture, offering readers a visual, intellectually stimulating experience that they will want to dip into again and again.

About the Authors

Hunter Shobe is a cultural geographer and assistant professor at Portland State University. He holds a PhD in geography from the University of Oregon and has more than twenty years of experience researching the cultural, political, and economic dimensions of how people connect to places and environments. Past studies focused on diverse topics, including the role of Football Club Barcelona in constructing urban identity in Barcelona, and national identity in Catalonia. 

Additional Photography by Rachel Escoto. Additional Research provided by Lourdes Jimenez.

David Banis has managed the Center for Spatial Analysis and Research in the Geography Department at Portland State University since 2006, working with a wide variety of partners at the federal, state, and local levels. His work explores the diverse ways that cartographers can tell stories with maps, focusing on the mapping of nontraditional subjects.

GET YOUR COPY TODAY!

POWELL'S

INDIE BOUND

AMAZON

BARNES AND NOBLE

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Mt Whitney Blocks

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Sixteen New Murals Pop on Portland’s Central Eastside

CENTRAL EASTSIDE , PORTLAND

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Jack Graydon, Matt Schlosky and Jesus Torralba

Portland Street Art Alliance is pleased to announce one of our largest Community Art Projects to date. This August, sixteen artists from across the city came together to paint The World Pac, Inc. building at 636 SE 10th Avenue in SE Portland. This new project, named the Mt. Whitney Blocks, contains a gallery of new works in a wide range of styles and techniques.

Lawson Buemio

Jesus Torralba

Sunny Beard

Using a mix of spray paint and latex bucket paint, each artist worked over a three week period to transform their portion of two city blocks in Portland’s Central Eastside Mural District. 

Artists had the freedom to paint what they pleased, as they continued to hone their skills. Each artist was given a section of the World Pac, Inc. building that wraps around SE 11th and Alder.

The first wall begins on SE 11th street, which is now transformed with murals. Splashes of color delight as one walks by each unique panel. The content of the murals is as varied as the artists themselves. Subjects range from fun scenes, to stories of the past, friendly reminders (such as ‘plants are our friends’) and themes of identity and culture.

Three murals on the 11th street side of the project

The Mt. Whitney Blocks contain works from established artists like Matt Schlosky, a 15-year Portland veteran artist, to a piece by first time solo-muralist Victor Bizar Gomez. 

“The genuine excitement I saw from people on the streets about my mural has been so refreshing, and I can't wait to get out there again in the future. Much thanks to Portland Street Art Alliance for inviting me into this project.”
– Victor Bizar Gomez

“Huge thanks to Portland Street Art Alliance for including me in this group mural project in SE Portland. I had an amazing time meeting all the artists and spending a few days painting in the sun. Looking forward to doing more murals in 2021!” –Jade Strums

These projects give artists the opportunity to build their portfolios by allowing them to work at scale and in their preferred style. Artists from various PSAA Community Projects have since been selected from PSAA’s Artist Roster for market-rate commissioned work across the region.

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Sponsors & Partners

The Central Eastside Mural District is funded, in part, by the Regional Arts & Culture Council, Prosper Portland, the Oregon Arts Commission, and the Central Eastside Industrial Council’s Central Eastside Together grant program.

WALL MANAGER: 
Lawson Buemio

PHOTOGRAPHY:
Sara Sjol

Calligraphy and Culture

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Portland Street Art Alliance Hosts Qatari Artist Fatima Al Sharshani

CENTRAL EASTSIDE , PORTLAND

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Artist Fatima Al-Sharshani at her mural.

Portland Street Art Alliance was pleased to work with Qatari artist Fatima Al-Sharshani via our partners at Gradient (NYC) and Qatar-USA 2021 Year of Culture program. In 2021, Year of Culture paired with JEDARIART, to bring Qatari muralists to the United States. JEDARIART is a public art initiative and international cultural exchange designed to deepen understanding between nations and their people. This is the first year JEDARIART is travelling internationally, pairing local partners with visiting artists in 5 cities across the U.S.

Over a two week period, artist Fatima Al-Sharshani worked with the assistance of Portland artist Sarah Farahat to create a stunning calligraphy-based mural at the Mt. Whitney Blocks in Southeast Portland. This was Fatima’s first visit to the U.S. and their second public art mural production.

After laying down the brushed portion of the circle, Fatima began adding letters in Arabic calligraphy. While each letter stands on its own, the bounty of letters flowing together help one appreciate the beauty of calligraphy in an altogether new way. As a finishing touch, splatters were added in an organic fashion.

The mural, titled "Never Ending / Endless" is an abstract piece that merges Arabic letters into a shape of a circle, representing continuity. The piece is intended to be viewed clockwise (Arabic writing reads right to left). Following along the circle, one’s eyes are transported down and around to Fatima’s expressive calligraphy that finishes the form. 

The inner depth of the circle is a “sensory expression that sparks a notion of infinity, and the never-ending power that lives within us.”

“Because I have the passion for Arabic calligraphy, I feel that there is a relationship between myself and the letters. When I can’t write something, the letters are sad, because for a long time I did not talk to them.”

— Fatima Al-Sharshani via The Willamette Week

This beautiful new piece is part of a larger Portland Street Art Alliance community project known as the “Mt. Whitney Blocks.” This project features a total of 15 murals and gave Fatima the opportunity to exchange ideas and techniques with multiple Portland-based artists. Learn more about the larger Mt Whitney Blocks project here.

““I had a good experience with this project. I enjoyed getting to paint in Portland and meet fellow muralists.” ”

— Fatima Al-Sharshani

While in Oregon, Fatima was able to visit the Oregon Coast, tour mural sites across the city, pet her first dog, and experience the magnificence of local landmarks such as Multnomah Falls.

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ABOUT THE ARTIST

Fatima Al-Sharshani 
Never Ending / Endless
@qair.qa

Qatari-based calligrapher, Fatima Al-Sharshani, has been honing her artistic penmanship for the past several years. Originally a Chemistry and Food Science graduate from Qatar University, Fatima first discovered her passion for the arts in 2011.With Calligraphy, Fatima has given her written words more power. She enjoys the calmness and perseverance that comes from continuously improving her skills, and the meditative effect it has on her. While perfecting her skills in Diwani, Moroccan Calligraphy, Thulth, and Free line, she has organized multiple calligraphy workshops in order to share her passion with her community.

ABOUT QATAR USA 2021 YEAR OF CULTURE

Qatar-USA 2021 Year of Culture is a partnership between Qatar Museums (QM), the United States Embassy in Doha and the Embassy of Qatar in the United States, featuring a wide-range of programming including exhibitions, festivals, bilateral exchanges, and more.

ABOUT JADARIART

JEDARIART is an annual program in Qatar developed by Qatar Museums in 2020 to add vibrancy and meaning to the walls of Doha murals, encouraging individuals to reflect on social, historical, and cultural conversations and contains a diverse range of works by some of Qatar’s most recognized artists and by celebrated international artists throughout Doha.

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PRESS

Article from Portland’s Willamette Week

Article in Doha News

Gulf Press Newspaper

New York Daily Press

Article By Peninsula News in Qatar

Post by I Love Qatar

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SPONSORS

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Thank you to our partners:

Gradient 
North Rim PDX
Central Eastside Industrial Council 
World Pac Inc.
Ground Score Association / Trash for Peace

Production Assistants: 
Sara Farahat
Caleb Ruecker 

Photography:
Sara Sjol

Storytelling in Kalama

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BRINGING BOOKS TO LIFE

KALAMA, WASHINGTON

“Reading gives us someplace to go when we have to stay where we are.” - Mason Cooley

Work has begun on a new public mural by professional artist Tatyana Ostapenko in Kalama, Washington. The mural was designed to represent and highlight some of the magical wonders and fantastical journeys that await those who explore the books found inside the Kalama Public Library.

Kalama Washington is located 40 miles north of Portland, Oregon. With a population of nearly 3,000, Kalama offers small town values and charm. Envision Kalama is a non-profit organization in Kalama that supports projects that enhance the community, beautify the town, and provide educational experiences. Envision Kalama was founded in 2007 by a group of citizens who wanted community members to contribute to enhancing Kalama for now and for the future.

Artist rendering of proposed mural

In 2019, Envision Kalama contacted the Portland-based non-profit Portland Street Art Alliance (PSAA) asking for assistance in facilitating the commissioning of a regional artists for mural projects in Kalama. PSAA presented an overview of their mural program, process, and past projects to Envision Kalama in the Winter of 2020. Working closely with the project team, PSAA created a large roster of regional artists recommended for a mural project of this scale and nature. Several bids were collected from considered artists, with Portland-based Ukrainian muralist Tatyana Ostapenko being selected by Envision Kalama. The project team worked collaboratively in developing the design and is now working to coordinate mural planning and preparation activities.

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 murals not only bring more cultural vibrancy and interest to a place, but they also help ensure that everyone has the opportunity to experience art in their everyday lives.”

Mural work started Monday August 2 and will continue for about a week or so. Press is invited to sign-up for receiving updates about the mural painting timeline and opportunities for interviews with artist Tatyana Ostapenko and project partners.

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Tatyana Ostapenko (Artist), a contemporary visual artist that creates history paintings that record the daily lives of people who usually don’t make it into official historical records. Tatyana uses images from her native Ukraine to speak about universal human experiences and evoke empathy and hope in the face of adversity. Tatyana was born and raised in Soviet Ukraine and currently lives in Portland, OR. She holds a BFA in Studio Practice from Portland State University. When she is not painting or staring out of her studio window, Tatyana is picking chanterelles in the mossy woods of the Pacific Northwest. Learn more about Tatyana, and see her paintings at https://tatyanaostapenko.com/

Portland Street Art Alliance (PSAA), a non-profit organization and network of advocates and artists who manage public art projects in the Pacific Northwest. PSAA has completed over 100 public and private art projects and commissions since 2012. This mural will be the third mural project PSAA has managed in Washington, and the first in the City of Kalama. More information: www.pdxstreetart.org

Envision Kalama, a non-profit organization in Kalama that supports projects that enhance the community, beautify the town, and provide educational experiences.

Sponsors: Envision Kalama, Kalama Public Library, Miller Paint

Never Look Away

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First LGBTQ+ Community Mural in Portland

NORTH PARK BLOCKS, PEARL DISTRICT

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“Never Look Away celebrates the beauty and struggle of queer people, declaring that queer people are here to stay, because we have always been here. Creation and resistance have been sisters throughout history. We must create what we want in the world alongside resisting that which others people and leaves them vulnerable to anger and violence.”   – Mural Production Team

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The first of its kind, the new 120ft Never Look Away mural in Portland celebrates eight pioneers of the LBGTQ+ community. Marsha P Johnson, Kathleen Saadat, Rupert Kinnard, Lynn Nakamoto, David Martinez, Angelica Ross, Asa Wright, and Aydien Dowling. The mural is located at 720 NW Davis St in downtown Portland.

It was brought to life by artists Cassandra Swan (design lead), Kyra Watkins (portraits) and mural assistants Rachel Oleson, Tommie Mack-Davis, (aka, Nafsi), and Naomi Likayi.

Artist Kyra Watkins, painting the portrait section of the wall. Watkins painted all eight portraits.

This mural took 5 years to pull together, thanks to a team of three producers:

ZOE PILIAFAS
EXECUTIVE PRODUCER / SHE/HER

Zoe Piliafas has produced two iconic murals in Portland: The Fiercest Athletes by Jeremy Okai Davis and the Black United Fund Mural by Eatcho and Jeremy Nichols. For the past two years she has worked to produce the Historical Black Heritage Markers, five permanent 7ft massive art markers on Alberta Street. She believes that every person who walks around Portland should be represented and welcomed through narrative experiences that reflect their own existence.

RUBAN LAWRENCE
PRODUCER / HE/HIM

Ruban Lawrence has worked in software consulting for 12+ years, and has extensive experience in project management. As a brown queer man, there is great meaning for him in being able to use his professional skills to contribute to the queer rights movement by co-creating the Never Look Away mural.

CASSANDRA SWAN
ASSOCIATE PRODUCER / ARTIST / SHE/HER

Cassandra Swan is an illustrator and designer who strives to create positivity and human connection through art and design. She specializes in crafting compelling visual narratives and building community through art-based play. She loves to explore how our differences strengthen us when we work together and believes the future can only be built on diversity. Her work centers around creative play, expression, education and collaboration. Never Look Away has been an opportunity to couple creation with resistance, and to work across communities to create a future that welcomes and serves all Portlanders.

With a chance meeting years ago between Zoe Piliafas and LGBTQ+ activist, Kathleen Saadat , the concept sprang to life. “I’m going to be putting a mural up that’s going to have you on it along with some other significant community members from the LGBTQ community.” With that spark, Portland’s first LBGTQ+ community mural was born.

After five years, and with the help of a many different organizations, the mural has come to life. Piliafas was able to secure funding with the help of Pride Northwest, the City of Portland and most of all, in-kind contributions from the community.

Portland Street Art Alliance assisted the production crew in commissioning some of the artists, in addition to providing the team with logistical support, consultation, and painting supply loaners.

Portrait painter Kyra Watkins first worked with Portland Street Art Alliance last year during our Ladies Up mural series. After moving to Portland from Columbus, Ohio just over two years ago, Kyra has already made her mark on the Portland landscape. “This is perfect for me because portraits are what I do,” Watkins says, “It’s right where I feel comfortable and right at home so I’m really excited. And the cause means a lot to me so you know that’s divine planning I think.” Watkins stated to OPB in an article covering the mural project.

In addition to honoring the activists, Tanzania artist Tommie Mack-Davis (Nafsi), found a global meaning to the work; they explained how it’s still illegal to be gay in their homeland and that gay people face reprisals, beatings and murder.

Eventually, Piliafas plans to create educational materials mural that can be used in schools and handed out at walking tours. She hopes this project will spur greater conversation and provide historical acknowledgment for the local and national LGBTQ+ community.

RIBBON CUTTING

Zoe Piliafas with the opening remarks

Mural Honoree David Martinez

Mural Honoree Asa Wright

Mural Honoree Lynn Nakamoto

City Council Person delivering the “Never Look Away Day” decree

Artist Team Featuring Cassandra Swan, Naomi Likayi, Tommy Mack-Davis (Nafsi), Rachel and Kyra Watkins

Mural Honorees Ruben Lawrence and David Martinez

Artist Tommy Mack-Davis (Nafsi) speaking to poet

Tommy Mack-Davis (Nafsi) greeting honoree Kathleen Saadat

Honorees Rupert Lawerence and David Martinez with artist Tommy Mack-Davis (Nafsi)

Artists Kyra Watkins and Tommy Mack-Davis (Nafsi) speaking with mural honoree Lynn Nakamoto

Tommy Mack-Davis (Nafsi) being interview by local press

Lotsa love between artist Kyra Watkins and Tommy Mack-Davis (Nafsi)

Portrait artist Kyra Watkins

Kyra and Family

Artist Tommy Mack-Davis (Nafsi)

Tommy Mack-Davis (Nafsi) and family

On August 20, 2021 the Never Look Away (@neverlookaway) mural was officially dedicated in a ceremony. August 20th was also honored with a proclamation from the Office of the Mayor as “Never Look Away Day” in Portland, Oregon.

The event featured an array of folx who helped make this mural possible and supported the massive undertaking. Speakers included Curator Zoe Piliafas, Producer Ruban Lawerence, mural honorees David Martinez, Asa Wright, Rupert Kinnard and Lynn Nakamoto and artists Cassandra Swan and Kyra Watkins . Speeches were made by Portland City Commissioners Carmen Rubio and Dan Ryan. Also in attendance were mural painting assistants, Rachel Oleson, Tommie Mack-Davis, and Naomi Likayi.

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FEATURED IN THE MURAL

Marsha P. Johnson

Was an American gay liberation activist and self-identified drag queen. Known as an outspoken advocate for gay rights, Johnson was one of the prominent figures in the Stonewall uprising of 1969.

Kathleen Saadat

LGBTQ+ activist, Kathleen Saadat, helped organize Portland, Oregon's first gay rights march.

Rupert Kinnard

Creator of the first African American LGBTQ comic book characters.

Lynn Nakamoto

Nakamoto is a founding member of the Oregon Minority Lawyers Association and sat on the board of Porltand’s Q Center .

She is one of eleven openly LGBT state supreme court justices currently serving in the United States.

David Martinez

A founding board member of Portland’s Q Center and also co-founded the Portland Latino Gay Pride, now known as PDX Latinx Pride.

Angelica Ross

An American businesswoman, actress, and transgender rights advocate. Founder and CEO of 'TransTech Social Enterprises', a firm that helps employ transgender people in the tech industry.

Asa Wright

A Klamath/Modoc Tribal member that identifies as Two-spirit . In 2004 he founded the Portland Two-Spirit Society, joining the 32 Two-Spirit societies across the US and Canada.

Aydian Dowling

An activist, speaker, and YouTuber who started the clothing company Point5cc, which benefits the transgender community.

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PARTNERS + SPONSORS

• Pride Northwest

• Miller Paint

• Star Rentals

• Really Big Video
  

Moving on Up!

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The New Central Eastside Mural District Continues to Grow with 5 New Murals at All Service Moving

CENTRAL EASTSIDE , PORTLAND

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5 new murals under the Belmont Viaduct completed in June 2021.

The Central Eastside Mural District is even more vibrant as Portland Street Art Alliance (PSAA) and local Portland artists Naomi Likayi, NotSik, Hayden Senter, Pono and Habiba Abdul Rahim have completed a large-scale installation painted on the All Service Moving building at 66 SE Morrison, under the Belmont Viaduct. This project was completed with major support from the Central Eastside Together Community Grant Program.

In just the past two years, Portland Street Art Alliance has painted over 53,000 square feet of new murals in the Central Eastside Industrial District. With this initiative, PSAA aims to celebrate the unique creative spirit of the Pacific Northwest’s diverse communities, increase recognition of the importance of the arts in Portland, and further the City’s ambitions to foster accessible spaces for working artists.

Hayden working on his Union Pacific inspired mural at All Service Moving. Photo: Sara Sjol

Artists worked night and day for two weeks in June to paint these new murals, using a mix of spray paint and latex bucket paint, along with a 45’ boom lift and ladders. Portland Street Art Alliance has been working with building management and district representatives for several years in order to get the logistics in place to make this project happen, expanding the Mural District and enhancing Belmont Viaduct coordinator. 

Painting in progress in the Central Eastside. Photo: Sara Sjol

With this project, PSAA also launched a new ongoing partnership with Ground Score Association, a peer-led initiative of the non-profit Trash for Peace. This special work program helps folks with housing insecurities gain access to paid work and job training opportunities. Laborers are assisting PSAA with wall preparation and base coat painting and getting paid a living wage for their work.

Habiba working on their first large-scale permanent mural in Portland. Photo: Sara Sjol

This five mural installation was supported by a PSAA-secured grant from the Central Eastside Industrial Council’s Central Eastside Together grant program. Central Eastside Together works to enhance the pedestrian experience, reinforce economic viability and promote Central Eastside’s unique identity through innovative and highly-responsive programs.

Completed murals by PONO and Naomi Likayi. Photo: Sara Sjol

The goal of the Central Eastside Mural District is to create a world-class public art destination in the industrial heart of Portland. The vision of the Mural District includes: 1) empowering regional artists to take new risks and further develop their public practice and portfolios, 2) honoring the district's unique history and enhancing its identity as being a walkable public art destination, 3) preserving space for creative and cultural production in a rapidly changing urban neighborhood, and 3) placing Portland’s Central Eastside on the global map as a hub for innovative and grassroots public art programming.

Not Sik working on their new mural featuring wolves and rabbits. Photo: Sara Sjol

With these projects, underrepresented artists from the Pacific Northwest are supported with project management assistance, permit procurement, painting supplies, and most importantly, livable-wage compensation from PSAA and project sponsors. At a time when Portland is experiencing accelerated redevelopment and demographic changes, especially in the booming Central Eastside, it is important to create and save spaces where artists from around the region can work, grow, and thrive. This initiative strives to ensure that street art is an integral part of the district’s identity as a hub for art innovation, makers, and culture-builders.

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ABOUT THE WORK

NAOMI LIKAYI
Ancestral Portal
@mungala_nao

“This mural is based on the first part of my thesis project at Portland State University, as a graphic design student. I wanted to mix my illustration style alongside Kongolese (Angolan/Congo) visual writing systems. These symbols come from ancient Kongolese religions that were meant to bridge communication between mankind's ancestry, creation, and the cosmos. In the mural, you can see six different symbols that represented a new beginning in my artistic practice. My illustration style is very abstract and figurative, so I wanted to carefully choose symbols that would visually mesh with my illustration style but had a lot of impact in terms of my narrative. The heavy influence of spirituality with these symbols and how I feel about the creative process is very connected.”

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NOTSIK
Vicious Cycles 
@notsikk

“This piece represents all the chaos and evil in this world, and how we are all just some rabbits trying to run, hide, and survive it all. There’s far too many wolves out there who are dying for the chance to eat your heart out.”

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HABIBA ABDUL RAHIM
The Watchers: Keep One Eye Open
@habiba_abdulrahim_art

“Keep one eye open" is an idiom that I grew up hearing elders say; it was a reminder to always remain vigilant and watchful. This piece has been a reflection on the person that I want to become and how I am remembered  when I am gone. I want to be like the elders that I learned from; they were wise, nurtured, developed and guided, and anchored their families and community. I want to be remembered as someone who stood against injustice and oppression, who fought and never gave up, and was a "Watcher" over her community. May we all be Watchers over our communities.”

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HAYDEN SENTER 
Seem To See 
@chairboy

“Just a glimpse into what I’m trying to find most days. Some sense of grounding to let my brain rest and explore something unfound.”

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PONO
Serpent And Centaur
@ponopinto

“This is an image in which the centaur could be any one of us, likely embroiled in our own personal struggles. The serpent loosely represents adversity and strife, perhaps a year’s worth. It’s not quite clear which one is winning the battle, but the centaur is prepared. Oddly enough, the idea isn’t necessarily related to astrology, even though I am a Sagittarius myself!”

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The Art of Art Mini-Documentary Series by Kyle LaMontagne

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SPONSORS

The Central Eastside Mural District is funded, in part, by the Regional Arts & Culture Council, Prosper Portland, the Oregon Arts Commission, and the Central Eastside Industrial Council’s Central Eastside Together grant program.

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PARTNERS

Thank you to our partners:

Central Eastside Together, Safety for All Teams (provided by NW Enforcement), Ground Score Trash for Peace, City of Portland Office of Community & Civic Life, Miller Paint, Metro Paint, Rose City Self Storage & Wine Vaults, Baby Doll Pizza, Star Rentals, Jupiter Next Hotel, The Painter Guys, Belmont Building LLC.

Central Eastside History Mural

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Portland Street Art Alliance Expands the Central Eastside Mural District with New Mural Dedicated to the History of the Industrial District

CENTRAL EASTSIDE , PORTLAND

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Photo: Sara Sjol, PSAA

Portland Street Art Alliance (PSAA) worked with three lead artists (Devin Finley, Jeremy Nichols, and Dan Lee) and nearly 20 regional graffiti artists to paint a massive 12,000 square foot mural dedicated to the nautical history of the Central Eastside Industrial District of Portland. This project is part of the non-profit group's efforts to seed a world-class mural district in the Central Eastside. This mural can be found at 211 SE Yamhill St. Portland, OR 97214.

This colossal new mural was a partnership between PSAA and the Central Eastside Industrial Council (CEIC), the neighborhood business association, and with significant grants from Prosper Portland and the Oregon Arts Commission. CEIC secured a grant from Prosper Portland and contracted with PSAA for assistance managing and implementing this mural project. CEIC is also donating all of their staff time to support this district beautification and improvement project

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A TEAM EFFORT

Muralists Jeremy Nichols, Dan Lee, and Devin Finley in front of a small section of the new mural. Photo: Tim Trautmann.

In May and June of 2021, three local artists, Jeremy Nichols, Devin Finley, and Dan Lee, had the opportunity to showcase their skills, painting a mural honoring this unique Portland neighborhood. Working closely with a team of professors from Portland State University, including Dr. Carl Abbott, famed Portland historian and Dr. Hunter Shobe, cultural geographer and member of Portland Street Art Alliance’s Board of Directors, PSAA gathered historical research to help inform the content of this mural.

Muralist Devin Finley works to paint a historic dockside view of the Central Eastside. Photo: Tim Trautmann.

Photo: Sara Sjol, PSAA

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HISTORY LESSONS

The mural design honors the history of the Central Eastside Industrial District and this stretch of the Willamette River. Specifically, the industrial and maritime history as a hub for shipping and commerce in the late 1800s. Included will be historic views of the Willamette River during the early industrial boom, spawning Chinook and Coho Salmon, flowing wapato, fishing nets, wooden ship hulls, buoys, anchors, and fishing piers. Carl Abbott explains that, “Willamette River shipping grew Portland from a straggling settlement to a major city. The docks, mills, and warehouses of the eastside were central to its industry and commerce in the 19th and early 20th century.”

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STYLE WRITERS

Completed project with work from various graffiti artists adorning the bottom. Sara Sjol, PSAA

Keeping true to their mission of supporting and advocating for writers and graffiti-style art, PSAA has also arranged almost 20 regional artists (based in Portland, Seattle, and Idaho) to paint a production along the bottom 10ft of the two main mural walls, along with the third loading dock side of the building. In this line up included: JOKER, MAWK, KANGO, GIVER, ABNR, DELAY, NOTES, QUE, DEPTHS, UTER, JAHDI, RITE, NIMBY, RASKO, OTHER, CEAD, NERD, FIBER, QUETZAL and ISREK.

These artists were selected from an open call to artists, and are among the best and most highly-respected writers in the Pacific Northwest. PSAA’s unique approach involves extensive community outreach and providing opportunities to underrepresented and diverse street artists. PSAA provides artists with the guidance, support, and supplies they need to create large-scale murals that engage with the larger community. These types of opportunities provide artists avenues to expand their skill sets, build their networks, and work portfolios.

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A NEW PARTNERSHIP

Paint sprayer training by The Painter Guys for Ground Score workers.

With this project, PSAA also launched a new ongoing partnership with Ground Score Association, a peer-led initiative of the non-profit Trash for Peace. This special work program helps folks with housing insecurities gain access to paid work and job training opportunities. Laborers are assisting PSAA with wall preparation and base coat painting, and getting paid a living wage for their work.

The building that the mural is being painted on was originally owned by Herbert M. Clark Jr., and was built in 1953. It was a family-business called Holman Transfer Company; a warehouse and trucking facility. It was then leased to Nor-Air for decades until around 2000 when that company was acquired by the current tenant, Airefco, a wholesale distributor of heating, air conditioning and ventilation products.

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“ The CEIC is proud to call PSAA a partner in the creation of the Central Eastside Mural District. A longtime center for urban manufacturing, Central Eastside businesses value the making, creativity and innovation that’s at the heart of this initiative. This new mural reflects the scope of our ambitions to bring colorful walls and artistic expression to the Central Eastside. ”

— CEIKC Executive Director, Kate Merrill

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SPONSORS

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Vernonia, On The Big Screen

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PSAA Site Serves As Backdrop in New Movie

VERNONIA, OREGON

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The Old Mill in Vernonia, Oregon sat empty and mostly unused for years. That is until six years ago when, with the owner’s permission, PSAA began coordinating artists to give the Old Mill in Vernonia a second life. Since then regional artists have created a gallery of art, breathing fresh energy into the old space.

A few years ago, Oprah’s movie production company Harpo Films contacted PSAA through our friends in Vernonia asking for consultation and help filming at the site. PSAA wanted to ensure that most of the artwork, particularly long-standing pieces at the top, were saved and preserved.

PSAA worked with the crew to get them in contact with all the artists we could, to get their permission to be in the film and sent an expert team of Portland writers out there for about a week to help them spruce the place up at bit.

Many thanks to local artists and friends for their support in making this happen. The Water Man is out in theaters now. Check it out! A fantastical journey right in our own Oregon backyard.

PSAA is excited to announce a new partnership with the City of Vernonia (supported by Travel Oregon) to produce several large-scale murals downtown and a mural festival in late summer of 2021. More details on this new development soon!

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Song Bird at Mercato Grove

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Christian Téllez and Portland Street Art Alliance Paint a Massive Custom Mural

Mercato Grove , Lake Oswego

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“Song Bird” in progress.

Mercato Grove, a new residential and retail destination at the intersection of SW Kruse Way and SW Boones Ferry Road in Lake Oswego, is now home to an impressive and expansive new mural titled “Song Bird”, an artistic collaboration between local non-profit Portland Street Art Alliance, muralist Christian Téllez, local creative agency Think Joule, and developer High Street Residential.

Mercato Grove blends a wellness-focused residential experience with a thriving local food scene unlike anything available outside the urban core. As part of their quest to establish this rising new destination, the creative team sought to enliven the outdoor spaces with beautiful, regionally-inspired art.

Think Joule and High Street Residential conducted an open call for proposals from regional street artists. The call: collaborate to design and install a massive 3,685 SF mural on 4 sections of exterior concrete walls, which are highly visible from the main parking garage entrance and directly face the windows of many of the apartment units.

“The scale and prominence of this mural added an extra challenge in contributing to the art direction of this piece. We wanted it to both make a statement and have broad appeal.”

– Jennifer Bryan, Creative Director, Think Joule

After a competitive proposal and evaluation process, muralist Christian Téllez of Portland was awarded this opportunity. Originally from Mexico, Christian is a licensed architect and accomplished artist with completed works in Oregon, Texas, and Puebla, Mexico. His background in architecture and interior design and extensive experience designing residential and commercial spaces, allow him to create unique and beautiful works that blend custom illustrations and refined details, as in this work.

Christian Téllez in his element.

“Song Bird” draws influences from local agriculture and seeks to connect the architecture of the site with the surrounding community. Christian incorporated native birds and flowers into the scene with a soaring central Bluebird and accompanying American Goldfinches and Steller's Jays, as well as evocative blooms of wild hyacinth, great white trillium and roses.

The soft, natural, and timeless imagery provides a scenic backdrop for residents and visitors alike and saturates the environment with beauty and personality. And a PDX airport inspired hanging garden currently being installed on the siding between the mural panels will further enhance the connection between art, architecture and the natural environment.

“Even in the very early planning stages, we knew we wanted to do something special with this project that both residents and visitors could enjoy and the mural played a key part. This collaboration with Christian, and the Portland Street Art Alliance, was instrumental in infusing urban artwork into a suburban setting, and we’re absolutely thrilled with the result.”

– Damin Tarlow, High Street Residential

Commissioned by High Street Residential, the mural collaboration took 6 months and involved multiple project partners: Portland Street Art Alliance provided management and logistical support. Think Joule was responsible for creative art direction. Christian created the custom art and led installation. In addition to Christian’s specialized production expertise, the project also required support from a team of painting assistants, The Painter Guys, who were subcontracted to assist with wall preparation and painting.

The vision and execution are beyond what any of us imagined at the outset,” concluded Jennifer Bryan. “It was an amazing collaboration, and I really credit Christian with his ability to interpret design direction and the support of PSAA to move this exquisite mural from concept to concrete."

Téllez isn’t the only one serving up artistic talent; some of the city’s best chefs will be bringing their culinary creativity to life at Mercato Grove. Six esteemed Portland eateries from local restaurant group ChefStable are slated to open locations at Mercato Grove this summer, including Lardo, Grassa, Oven and Shaker, Lac St. Jack, Fills Donuts and the reboot of Portland’s beloved brunch destination, Tasty. A large outdoor pavilion invites locals and visitors alike to enjoy arts and eats in this vibrant new neighborhood.

Food and art lovers can experience the iconic new mural and delightful culinary offerings by visiting Mercato Grove at 4055 Mercantile Dr., Lake Oswego.

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SPONSORS + PARTNERS

Persist Mural

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PERSIST MURAL CELEBRATES BLACK WOMEN OF HISTORY

NORTHEAST PORTLAND

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Portland Street Art Alliance (PSAA) has teamed up with muralist Jamaali Roberts (@jamjamart) to paint a new mural on Martin Luther King Blvd near Alberta Street in Portland, Oregon. The mural is entitled "Persist" and is a memorial and tribute to several black women who have helped shape equality in the workplace, schools, and legal systems across Oregon and the United States.

Image: Muralist Jamaali Roberts working on their largest mural to-date on MLK Blvd in Portland. PSAA Photographer: Sara Sjol

Jamaali Roberts is a designer, painter, teacher, curator, musician and crystal enthusiast. Jamaali studied painting at the Pacific Northwest College of Art and splits his time between Portland and his hometown of Atlanta, Georgia. His goal is to start an art-based healing center and teach workshops that use the body, mind, and materials to rise above self-doubt and nurture self-confidence.

Jamaali’s new mural depicts portraits of Lucille Bridges and her daughter, Ruby Bridges, who together broke the race barrier in 1960 in New Orleans, by being the first black student to desegregate an all-white school. Following the Brown vs. the Board of Education case in 1954, the William Frantz Public School ushered in a new wave of desegregated education. This was not an easy process. Ruby and her mother were harassed to the point that local police Marshals were required to escort them to and from school everyday.

These moments were famously documented in the powerful photographs that to this day are iconic of the 1960s movement for equality and social justice. Outside of school, Ruby’s immediate family faced fallout and disdain from their community, losing their jobs and even property because of the desegregation crisis. Ruby and her mother, however, persisted, they attended school even facing this harsh backlash. Now, children all over the United States can go to school with students from all different nationalities and backgrounds. Lucille Bridges, passed away after successfully giving her four children the education she was denied as a youth due to helping her parents work in the fields immediately after 8th grade. Lucille Bridges passed away of cancer in her New Orleans home in November of 2020.

On the right side of the mural is a portrait of Senator Margaret Louise Carter, the first African-American woman elected to the Oregon State Legislature. Senator Carter also worked to change the way of life for Blacks and all Oregonians. Senator Carter, who was also born in Louisiana, traveled to Portland with her family in the 1960's, received her degrees from Portland State University and Oregon State University and later joined the Oregon Senate in 1983 only to endure harsh racism and sexism from her comrades. But, she persisted through the insults and as a Senate member, Carter pushed a pro-education agenda that included the creation of regional skills-training centers as well as summer programs for kids. During her 23 years of service, Senator Carter also passed a bill declaring Martin Luther King Jr. Day to be an official holiday in Oregon. Senator Carter is currently retired from her senate duties, but remains an active community member, behind the scenes supporting colleagues in sports, politics, and education.

“Besides all hailing from Louisiana, these women have shown me what it means to be persistent against the odds. During this painting process, I had to persist through challenges of mind and body, excitement and fatigue, and even the occasional harasser. Ideas had to shift in order to arrive at the image you see today and I am proud of this piece, my largest ever. In my own life I have dealt with racism in school and racists in Portland, too; yet, I could not imagine the emotional weight on these women shoulders during their clashes with highly agitated and violent white people. As an honor to their struggles and accomplishments as humans and mothers, this mural visually places these women on a plane of existence 17 feet higher than that of base-level ignorance. These women look at the reading youth in the mural and out at us from a higher plane of wisdom, grace, and compassion.”

- Jamaali Roberts

Jamaali worked closely with the PSAA team and with the new building owner, Jane Paulson, and her colleague, Caprese in designing the mural and preparing for all the logistics that go into mural making. Jane purchased the building in 2020 and is working to renovate it to be used as a Pickleball Court. She wanted to not just put a fresh coat of paint on the exterior, she wanted to do something to give back to the local community and support working artists at the same time.

“PSAA’s team always had my back and made sure I was safe, hydrated, and prepared for the elements. Thanks to all my “ground control;” my ladder holders and mural visitors. Thank you to Danish for your help painting the text. Thanks to Maquette from Alberta Art Works and Jon Stommel for lending me large sturdy ladders. Thanks Daniel, Mad, and Ken for putting me up. Thanks to all the random people who honked at me in support of the work.”

- Jamaali Roberts

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PARTNERS + SPONSORS

Jane Paulson, Building Owner
Miller Paint, Supply Sponsor

Central Eastside Mural District

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

CENTRAL EASTSIDE MURAL DISTRICT

A key part of Viaduct Arts is learning together. For both a non-profit and the participating artists, we stretch and grow our skills and portfolios to new heights. In 2020 artists, Derek Yost, GATS, and Galen Malcolm provided artists with mentorship through mural painting and logistics.

Working closely with community partners, Portland Street Art Alliance has worked for several years to “seed” a new mural district in Portland’s Central Eastside Industrial District (CEID). The goal of the Viaduct Arts initiative is to promote more inclusive engagement and access to public art-making in the city.

Thanks to grant support from the Oregon Community Foundation’s (OCF) Creative Heights Grant, in the summer of 2020 PSAA launched the Viaduct Arts initiative, bringing new five large-scale murals to the walls beneath the Hawthorne and Morrison Bridge Viaducts, all by diverse artists Oregon-based artists.

In 2021, PSAA’s work in the Central Eastside Mural District continues. Grant funding for two additional large-scale murals under the Belmont Viaduct has been provided by the Central Eastside Industrial Council and Proposer Portland.

The second phase of the mural district welcomes a new unique partnership between PSAA and several local homeless service organizations. These partnerships are being supported by grant funds awarded from the Oregon Arts Commission and the National Endowment for the Arts. The goal of these new partnerships is to engage with and help folks living on the streets of the Central Eastside. Working with local service partners, PSAA will provide homeless community members with access to paid work and training opportunities in mural-making activities happening in the district.

“Viaduct Arts aims to center voices not often represented in Portland’s public art landscape. Fundamental to the success of this project is providing and preserving equitable access for artists across Oregon to push their creative limits and make their voices heard in urban public spaces.”

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 focuses on working with artists who identify as being a part of underrepresented communities (BIPOC+, LGBTQ, Women, Rural, Disabled, etc.).

CENTRAL EASTSIDE INDUSTRIAL HISTORY

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 Industrial District (CEID) 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.

“SEEDING” PUBLIC ART IN CEID

In 2019, PSAA hosted an open call inviting artists across the state of Oregon to apply for a spot in the muralist line-up. PSAA formed a selection committee consisting of prominent members of the local arts community, community advocates, and curators. With the help of community partners and news outlets, PSAA received nearly 200 applications from artists from around the state of Oregon. Five Oregon-based artists were invited to participate in the 2020 launch of the Viaduct Arts initiative.

PSAA is now working with the Central Eastside Industrial Council and Proposer Portland to expand the new mural distinct, with several new viaduct mural sites planned for late 2020 and the summer of 2021.

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.

• Murals provide access to art without barriers of admission

• Murals promote a sense of identity and belonging

• Murals create a tangible sense of place

• Read more about the benefits of murals

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NEW MURALS COMPLETED IN 2020

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MEET THE ARTISTS

OLIVER CASILLAS | TALENT, OR

66 SE Morrison St

Oliver Casillas is a Mexican-American artist living in Talent, Oregon. Oliver has studied the arts since a young age, immersing themselves in painting, sculpture and ceramics early. Born in Guadalajara in 1995, Oliver attended school in Guadalajara, Mexico and later university in Namur, Belgium, living also in Los Angeles, and moving later to Talent where he rediscovered his passion for art. For the past two years, Oliver has now dedicated himself exclusively to art and tattooing. Oliver is the artistic manager for a project named "We Art Here," which uses art to raise awareness about social struggles, environmental stewardship, and movements of protest. Oliver aims to expand his public art practice in the Pacific Northwest, painting murals in urban areas where it will make the most impact, support collective identity building, and improved quality of life for neighbors.

Oliver Casillas | SE Water & Belmont Avenues

“My mural “What Keep us Together” will be inspired by the iconic portion of land shared by Mexico and the United States - the Sonora Desert. This mural aims to depict the shared nature among them, the purity, and reality behind skin colors, languages, ways of thinking, and religions. In other words, behind the human being. It is an invitation to think outside of our boxes and realize what binds and keeps us together. ”

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MARIA RODRIGUEZ | PORTLAND, OR

1430 SE Water Ave

Maria Rodriguez is a Mexican-American illustrator and muralist. Currently based in Portland, Oregon but originally from Los Angeles their work explores themes of identity and culture while also creating work that is playful and lighthearted. Maria studied at the Pacific Northwest College of Art, focusing on editorial illustration.

“Without Indigenous, Latinx, and POC farm workers, we would not have the food on our tables. Many of the foods in our fridges have a story behind them and I’d like to show gratitude and appreciation to the many who work tirelessly and face things one should not have to, to merely survive. With this mural I’d like people to both face that reality and think about ways they can show appreciation for those who bring food to our tables. With the grant-awarded funds I receive, I will donate part of them to PCUN and Causa Oregon.”

Maria Rodriguez, SE Hawthorne & Water Avenues | Photo: @wiredforsound

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CLOE ASHTON | PORTLAND, OR

1420 SE Water Ave

Cloe Ashton is an illustrator living in Portland Oregon. Working in a wide variety of mediums her pieces speak to an activist spirit, veering from the low-brow whimsy to subversive. Cloe experimented with special reflective spray paint on the ghost bike. Shine a bright light or flash on it and see it glow!

“Activism can take many forms and can even be a celebration, but it is important to remember that the origins of those festivities are often dark events and that so many parties are actually memorials. [This mural represents] massive bike rides that normally occur throughout the month of June in Portland, a festival called Pedalpalooza. [In times like these] we have an opportunity to reflect on why we gather, what it means, and how we can make the streets safer.””

FRANCISCO MORALES | PORTLAND, OR

210 SE Madison St

Francisco Morales is a Latinx freelance illustrator and designer living in Portland. Originally from Los Angeles, California his work draws upon his experience being raised in LA and growing up as a first generation Mexican. Recently, Francisco produced and served as the Art Director for Doug Fir Lounge’s 15 year anniversary campaign. His practice focuses on primarily collaborating with clients and artists from underrepresented communities. Francisco has worked with local artists such as Y La Bamba, Orquestra Pacifico Tropical, DJs Noche Libre, Brown Calculus, Bocha and the Produce Organics hip hop label.

“Paradise is a mural that is inspired by the exchange of goods and culture between the US and Latino communities. Most of the objects depicted in the work have been brought to the US from countries south of the border. This exchange comes at high cost to Latino communities. These folks pick produce through back-breaking labor, live in low income areas, and move to this country in search of a better life searching for their own slice of ‘paradise.’ All of these elements are presented with a chain link fence backdrop to highlight that oftentimes there are barriers, whether physical or societal, that can keep folks from attaining these dreams or their own paradise.”

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NIA MUSIBA | PORTLAND, OR

1510 SE Water

Nia Musiba is a multidisciplinary artist from Denver, Colorado now based in Portland. Her art is primarily centered around people, and her identity as both an African American woman and the daughter of a Tanzanian immigrant influence her work and her discovery of black history through an artistic lens. Whether through digital or physical mediums, community based art practices or her solo work, Nia’s goal is to create space for herself and for others that wouldn’t historically have a platform.

“This piece is all about flexibility and play. I was inspired by my youth, days spent in the sun with friends and family moving and stretching and growing. I integrated bright colors along with the green, yellow, blue and black of the Tanzanian flag. I wanted to pay homage to the exploration and curiosity we all get to experience as children, but also express the constant balancing act that I felt growing up Black in America, having one parent from Africa and one from the States. I also wanted to depict Black bodies in an undeniably fun way, because this kind of representation is important, especially in a place like Portland.”

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WORKING WITH DISTRICT OWNERS

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DONATE A WALL

Do you have a wall? Consider supporting a public art project. There’s lots of options.

Please email PSAA at info@pdxstreetart.org or fill out this form:

PROPERTY OWNER OR RENTER FORM

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MEDIA COVERAGE

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DONATIONS

Consider making a tax-deductible donation to support the Viaduct Arts initiative! All business donors who contribute $1,000 or more will become an “official sponsor” and recognized on this website, in marketing promotions, and on social media.

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SPONSORS + PARTNERS

The Central Eastside Mural District is funded, in part, by the Regional Arts & Culture Council, Prosper Portland, the Oregon Arts Commission, and the Central Eastside Industrial Council’s Central Eastside Together grant program.

Project P.A.I.N.T

Exploring Transformative Inclusion of Black, Indigenous and People of Color Artists in Portland

Written by: Maddy Silberger-Franek and Ameenah Carroll

Research by: Elena Ferry, Maddy Silberger-Franek and Ameenah Carroll

This article presents findings from an ethnographic research project conducted through the Collaborative Design Program at Pacific Northwest College of Art (PNCA). This project was centered around how arts organizations can further foster inclusion of Black, Indigenous, People of Color (BIPOC) who are artists in Portland, Oregon. 

Artwork by Nia Musiba

It is no secret that Portland is a very white place. The state of Oregon was founded on notions of white supremacy that are still reflected in the city today. Knowing that Portland can be a particularly challenging place for BIPOC artists to feel “at home,” we sought to have a better understanding of the pathways and barriers of inclusion BIPOC artists faced when trying to build community, enter into, or partner with arts organizations in the city. 

To gain a more nuanced view of this issue, we first spoke to Portland Street Art Alliance (PSAA), a non-profit arts organization that focuses on connecting street artists to mural opportunities in the city of Portland and beyond. PSAA provided insights into what their organization is already doing to further inclusion of BIPOC artists and connected the research team to street artists PSAA has worked with in the past. This informed our focus on the remaining research, which centered the experience of mostly street artists. The research team presented the findings of this study to PNCA and PSAA in December 2020. 

PSAA connected the research team with four Portland-based street artists. Additional study participants were identified using a snowball sampling approach. Personal community networks identified an additional eight BIPOC artists to interview, with two of these participants having worked at arts organizations. The research team conducted one-hour Zoom interviews with all participants.

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Key Insights

1. BIPOC artists struggle to find BIPOC-centered art spaces and opportunities. Many BIPOC artists had to create their own spaces in order to support each other. "Hopefully my friend ____ and I can start a community at our gallery as we're working in Portland. I'm excited for that." For many BIPOC artists, creating their own spaces helps artists not only feel safe, but provides supportive opportunities to share their art. This also helps BIPOC artists connect with other BIPOC artists in their communities.

2. Art organizations hypothesize that their lack of diversity is due to ineffective recruiting methods. Arts organizations need new methods of reaching out to communities. "We are in the process of changing our whole leadership model." Although changing leadership roles to include more people of color in art organizations is becoming a more prevalent topic of discussion, the process of these leadership role transformations is still infrequent. The connections between BIPOC artists and art organizations in Portland is crucial in order for these transformations to occur.

3. BIPOC artists are not represented or included in Portland galleries because the gallery culture is not accessible to newcomers. This is even more difficult for BIPOC artists trying to “break into” white-dominated galleries and show their work. BIPOC artists feel excluded because of how white-dominated the broader arts community in Portland is. "Conceptually my art is about being Chinese, Taiwanese, American and nonbinary. A reconciliation of being all of these ways of life and forms of thinking." Not often seeing themselves reflected in the art shown at galleries motivated participants to represent themselves, their community and their cultural identity in ways that were more accessible. By and large, participants expressed the need for a more inclusive gallery scene in Portland.

4. Arts education is not accessible financially to many BIPOC artists; however, an educational setting is the place many BIPOC artists reported finding a sense of belonging. This is due to the opportunities presented to artists through schools and feeling connected to other artists in a classroom setting. "I never went to school for art. I was accepted to PNCA, but it was in no way manageable for me. I walked up to PNCA with all these janky pieces of art. I wanted to be there, but I didn’t fit in at all. It made me realize the differences in education." Allowing more BIPOC artists, who have little to no formal art education, to become more included within art organizations in Portland is essential. Many of our research participants highlighted how they feel more art opportunities can be provided through educational institutions.

5. Many BIPOC artists have experienced racism when trying to share their art. "Someone spray painted on top of my mural once and I had to go out and fix it, and it wasn’t a big deal but it was wack. We need a lot of black and brown love and pride. That was an instance where the communication wasn’t there." Many BIPOC artists encounter some form of racism or prejudice during their everyday life experiences. This is especially noticeable when trying to share their art; from their public art being vandalized with racist slurs to feeling tokenized during art events. More focus to minimize the barriers surrounding race for BIPOC street artists in Portland needs to be required and prioritized.

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Recommendations

Create a central hub for opportunities and resource sharing specific to BIPOC artists. This could be an effort for each individual art organization to have on their own website. Also, this could be through a broader collaborative effort on a popular and accessible social media platform. Having a central location for opportunities that specifically center BIPOC artists would allow for increased knowledge sharing that could be helpful in ensuring BIPOC gain access to opportunities that could lead to success. 

Flatten hierarchal leadership in arts organizations and increase representation of BIPOC in leadership roles. This would lead to increasing diversity and inclusion of BIPOC artists in arts organizations for multiple reasons. Reaching out to a community that one is a part of is more effective than doing outreach to a community that one is not a part of. There is no way to work around this reality. Participants expressed that shifting to less strict hierarchies within the organization is also necessary because currently higher-ups are siloed into their own roles, which effectively distances organization leaders from communities they want to work with.  

Dedicated gallery space for BIPOC artists. The gallery scene was an area in which many participants expressed feeling excluded from. The gallery scene in Portland was characterized as hostile to newcomers and white-dominated. It was hard for newcomer artists to get a “foot in the door,” and extra hard for BIPOC artists attempting to enter into a white-dominated art scene, where seeking inclusion could easily lead to tokenization and microaggressions from their white peers. BIPOC artists need access to the Portland gallery scene and need this to be a safe space to enter into. 

To increase engagement, look to places where disenfranchised artists are, such as community colleges. Along with this, host community workshops for reduced cost or free. Some participants couldn’t afford a traditional art school education. Making connections with spaces that are more accessible to low-income communities could increase art organization engagement from BIPOC artists.

Uplift spaces that are already BIPOC-centered. Many participants created their own spaces that centered BIPOC artists. There are many examples of these spaces around Portland, such as Shop Black Saturdays and Ori Gallery. One way to further foster inclusion of BIPOC artists is to dedicate resources to these spaces and amplify the efforts of BIPOC organizers already doing the work around Portland.

In conclusion, we found that involvement in arts organizations were a major tenet in BIPOC artists feeling included in the art scene in Portland. Whether in a school program, community art organization, gallery or other community art selling event, having a central space for community-building and networking was integral to many participants. Many participants were also already taking initiative to provide these spaces for their own communities. While many participants felt that they were included in the art community in Portland at the time of the interviews, they all shared the experience of going through a period of time in which they struggled to feel included in the art scene here. The time period in which participants sought inclusion in the art scene is also when many experienced tokenization and microaggressions through being pushed into white-dominated spaces where these behaviors often proliferate unchecked. Arts organizations could seek to reduce the gap that many BIPOC artists experienced before they found community in Portland. In this article, we provided some suggestions for ways in which art organizations could reduce the gap experienced by BIPOC artists, and further foster inclusion in their own organization.  

Nicky Farms

In the summer of 2020, PSAA was contacted by the owners of Nicky Farms USA in the Central Eastside Industrial District of Portland. A pioneer in the seasonal ‘farm to fork’ Northwest food movement, Nicky Farms provides sustainably-raised specialty game and high quality meats to restaurants in Portland and Seattle, along with selling wholesale to the public from their Central Eastside location.

Working closely with PSAA management, Nicky Farms owner Geoff Latham selected a pair of well-known and respected local street artists, Demecio Sierra and Galen Malcolm, to paint a vibrant new mural on the front and side of their building located at 223 SE 3rd Ave. PSAA and this artist team had recently painted the old Salvation Army building next door to Nicky Farms, and thus were familiar with the site having worked in the neighborhood for the past few months. Having Miller Paint located just a couple of blocks away was also a great support. Special thanks to Bruce Zhen, Nicky Farm’s site manager for helping to coordinate painting logistics and providing the artists with extra support during this mural work.

PSAA and the artists worked with Geoff to design a mural that highlight’s Nicky Farm’s commitment to sourcing and supporting sustainable products and biodiversity. Specifically, the mural focuses on Nicky Farm’s Hawaiian Island Program and its farm in Aloha Oregon.

2020 has been a difficult year for working independent artists. PSAA is thankful now more than ever for the support from Nicky Farms during this unprecedented time in our city’s history. This commission was one of the only projects that was initiated after the COVID-19 pandemic began. The partnership is a great example of what is possible when businesses and property owners connect with, and give back to the local artist community. PSAA is proud to add this site to a growing list of public art activations in the new Central Eastside Mural District!

PROJECT SPONSORS

Boarded-Up Murals

Image courtesy of @PortlandHistory

Countless businesses throughout Portland have closed their doors in response to the COVID-19 pandemic. Many of these local businesses, especially coffee shops, bars, and tattoo shops also used to employ independent working artists in our community, which are now laid-off.

PSAA is doing what we can to support working artists during this time. As a very small non-profit, we have taken a pretty significant hit in our commission, tour, and community programs. PSAA’s resources are limited and we too are struggling, but PSAA would like to help support and make connections in the community during this difficult time.

If you are a business or property owner in the Portland Metro Area, with boarded-up windows, we can help connect you with talented artists to paint temporary murals. If you are a business in downtown or NW Portland, PSAA has some support from Neighbors West-Northwest to help make those projects happen.

GET ON-BOARD!

BUSINESSES AND PROPERTY OWNERS

Interested business owners are encouraged to email PSAA at info@pdxstreetart.org. When emailing, please send a photo of the boarded-up windows, the site address, and board dimensions. This program aims to help support struggling artists. There is no city-funding yet for providing these services, so support has to come from the business community to make this happen. Estimating anywhere from $5-$10 per square foot for artwork is suggested. If you can’t afford to make a contribution, please contact your neighborhood or local business association to see if they can help. Some artists are willing to exchange their services for gift certificates, free products, etc, but painting supplies still cost money and PSAA aims to support the artists’ time and labor as well.

ARTISTS

If you are a local artist interested in painting, please sign up on the PSAA Mailing List to receive upcoming open Calls to Artists. Some boarded-up projects will be managed directly by PSAA, others will be posted as open calls where artists can contract the property owner directly to apply.

PSAA highly encourages artists who want to help and participate to take action and just start reaching out (email & calls) to boarded-up businesses in your neighborhood, asking if you can paint. Direct outreach by artists has always and continues to be the best way to secure spaces.

DONATE

A lot of local boarded-up businesses are really struggling right now and don’t have cash on-hand to support the hard work these artists are doing. This special program is a community effort to raise everyone’s spirits during this difficult time. If you are able to make a tax-deductible donation to this emergency PSAA program, it will greatly support the coordination of all this, and go straight into the hands of working artists. All sponsors who are interested, will also be acknowledged by name and/or their logo included at the bottom of this website.

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PSAA BOARDED UP MURAL PROJECTS

QuarterWorld Arcade

Temporary mural production and wheatpaste installation on Tanker Bar & QuarterWorld Arcade, at SE 48th and Hawthorne. Murals by FIBER and EKOSE. Wheatpaste installation by David DaCosta.

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Really Big Video

Really Big Video (539 NW 10th Ave) with artists Heysus, VALLE, Daniel Santollo, Scum Co, and LevelHeadedPress.

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Communion

Communion (3556 SE Hawthorne Blvd) with artists Emily Kepulis, Alicia Schultz, and Nori Rinaldo. Special thanks to OPB’s Oregon Art Beat for covering these projects!

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Treehouse Collective

Artist Latoya Lovely in front of their mural at Treehouse Collective.

Murals with a diverse line-up of local artists for Treehouse Collective on Sandy Blvd. Featured artists include Habiba Abdul Rahim, Latoya Lovely, Wetiko, DesignNine, Lawson Arts, Violent Wire, and Case12.

The boards at Treehouse Collective are no longer on display, as the company has opened back up. After artists were provided the opportunity to pick up their pieces, PSAA has saved a few of the smaller murals for future display at other properties.

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World Trade Center

Artist Betty Alcaraz in front of their mural advocating for Black Trans Lives in downtown Portland. Photo by JDA Productions.

Mural project with a team of local BIPOC street artists on panels surrounding the massive World Trade Center building in downtown, Portland. Support from NeighborsWest Northwest and wall space provided by Portland General Electric.

Artist line-up on the World Trade Center includes: Natalie Clarise Van Clark, Jamaali Roberts, Nicole Light, Carrissa Carbajal-Baltezore, Apikale Kuli, Betty Alcaraz, Rachele Mosley, Breana Depriest, Quanie, Belevroc, Uter, and Naomi Likayi.

If the boards stay up, we will have more murals coming soon!

Artist Naomi Likayi (@mungala_nao) painting a mural at the World Trade Center in Portland OR, along with other local muralists on-display. Video produced by @lovetshot

Artist Jamaali Roberts in front of their mural on the World Trade Center in downtown Portland.

Artists Carrissa Carbajal-Balttezore and Nicole Light.

“We decided on the to keep the message of this mural vague because everyone has something they’re dealing with; whether it is racism, COVID-19, etc., we felt that this was an awesome umbrella phrase that you could apply to so many situations. In these crazy times, rising above the craziness is almost necessary to stay afloat and sane. - Nicole Light”

For many of the World Trade Center artists, this mural project was their first time painting large scale in public space. Including for Carrissa Carbajal-Balttezore and Nicole Light, with their Rise Above Mural.

Carrissa is an illustrator living in Vancouver, Washington. Nicole Light is a 26 year old Filipino-American graphic designer, born and raised in Portland, Oregon. They started out their design career with printmaking and calligraphy, and later fell in love with graphic design.

Artist Naomi Likayi, at the World Trade Center, photograph by Tim Trautmann.

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RELATED NEWS

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Below are a list of artist resources available that we know of. If you know of others, please email us.

RACC COVID-19 Relief Resource Listings

Portland Area Artist Emergency Relief Fund

Oregon Community Foundation

Earl Blumenauer COVID-19 Relief Resources for PDX 

The Center for Cultural Power’s COVID-19 Guide for Artists and Activists

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SPONSORS

Sunshine Dairy

In the Spring of 2019, PSAA was approached about an installation at 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.

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

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 the community gets new art.

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

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.

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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 and build their portfolios. 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.

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

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Detail of KANGO’s piece. 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

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

Mural work by GATS. Photo: InvoicePDX.

HISTORY OF SUNSHINE DAIRY

Written By Josie Allison, Photos Scanned by Anton Legoo & Tiffany Conklin

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.

Logo Design by Forrest Wolf Kell