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Defend, Grow, Nurture Phillips
The Defend, Grow, Nurture Phillips mural is located on Franklin Avenue in Minneapolis, which is in the Phillips neighborhood. This mural was painted on a large, wide building. The mural's focal point is six indigenous people painted in the center, with a woman breastfeeding and holding her out her hand, as the main figure. There are many generations represented, including two elders (the last two people on the right). There is a man to the left of the breastfeeding mother, another woman with a child in front of her to the right of the mother, a man to the right of the woman and child, and another woman to the right of the man. Sunflowers, along with other plants and flowers, surround the people, forming a square with one large sunflower at the far-left edge. The sunflowers depict scenes that are of importance to the community. The people are all facing to the left and appear to be in protest. Two large triangles are pointing to the right and left, which are formed near the group of people. Inside the triangle pointing to the right, there is a silhouette of people protesting. The left side of the mural depicts mountains in the background and items representing disruption, gentrification, and destruction. The right side of the mural depicts water with tepees being reflected in it and buildings behind the more modern tepees on the top. There are constellations on the top and bottom, along with circular stars with figures depicted in them. There are also northern lights in the top right. The main tones of the mural are earthy browns and reds with cool tones on the right side.
The composition of the mural has people as the focal point, depicted at the mural's center, with the mother being the focus. The balance of light and dark shades of paint for the skin tones adds depth and creates a sunshine-like effect. The two triangles balance the scenes depicted on each side, which also creates symmetry. Another point of symmetry is the square made up of flowers and plants that surround the people. The four sunflowers create a square around the people in the center, which also adds symmetry. The tepees in the reflection of the water, along with the constellations, balance the buildings above them. The mountains and flowers appear to be distant in the background of the people. The middle and foreground are used to display the people and sunflowers, with one larger sunflower displayed in the background. The dark brown triangles add depth to the images displayed. The protest silhouette is in the middle ground. The contrast of light and dark on the far-right side adds depth. The oil, gun, crane, needle, danger sign warning against arsenic and lead, and barbed wire are in the foreground and part of the middle ground. The tepees are in the foreground, and the buildings and other tepees are in the middle ground. The stars and constellations are in the background and foreground.
Yellow curved lines outline the people, which show their importance and make them seem like they are surrounded by sunshine. Curved lines over the tepee represent waves, which create a sense of peace and tranquility. There are also straight lines that are formed by the two large triangles, creating a frame around the people and a visual sense of direction to the scenes depicted on both sides. The straight lines of the barbed wire in the bottom left corner point at the mother, who appears to be deflecting them along with the oil, gun, and crane. The curvy lines of the constellations and northern lights at the top right are reflected in the water and represent nature now and then. The paint adds texture through the sharp appearance of the barbed wire and the hook attached to the crane. The thin brush strokes of the feather attached to the headband on the child’s head make it look soft and fluffy.
The colors in the mural are very earthy in their tone. The mountains and hills displayed on the left use brown, peachy tones, which give it a very peaceful tone, contrasting with the filth and desecration of land shown in the bottom left corner with unattractive tones and themes. The scene on the right uses cool tones, which could represent water and bring a calming message. The dark blues used in the top left corner are meant to show the impacts and changes due to colonization. The bright colors around the people show that they are full of light and connected to the earth through the flowers. The yellow shows that the people are full of light.
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At the Center of your Being
At the Center of Your Being by Taylor Berman is a mural that explores the themes of interconnectedness and personal growth through symbolic imagery. The focal point of the piece is a large bear, which stands at the center and represents inner strength and self-reflection. The bear’s dark black color, with subtle hints of navy blue, emphasizes its solid, grounded presence. Surrounding the bear are vibrant fish, painted in warm ochre tones of dark brown and terracotta which swirl in fluid motion. These fish represent the external forces like relationships, experiences, and the flow of life that shape and influence one's journey. The movement of the fish follows an invisible path that symbolizing the continuous flow of life and the interconnectedness of everything.
On the left side of the mural, an orb painted in colors like the fish, earthy hues serves as a visual connector between the grounded bear and the swimming fish. The orb helps tie these elements together and creates a sense of unity. On either side of the mural, a large human head frames the scene. Painted in varying shades of blue, the head recedes into the background, suggesting that the mind, while important, takes a backseat to the forces of nature and self-reflection that shape our experiences.
The mural's color palette creates a peaceful and balanced atmosphere. The earthy ochre of the fish contrasts with the deep blacks and navy blues of the bear, creating a harmonious balance between warmth and depth. The shades of blue used for the head and background provide a calm, serene backdrop that allows the bear and fish to stand out. The orb, painted in a similar ochre tone as the fish, contrasts gently with the surrounding elements, creating visual harmony and guiding the viewer's eye across the piece.
The lines in the mural are fluid and dynamic, with bold, sweeping curves that convey a sense of energy and motion, especially around the bear and fish. The finer lines add subtle details, such as shading and texture, providing depth to the piece. The rough texture of the brick wall adds a tactile quality to the mural, creating a contrast between the smooth paint and the physical surface, which helps to integrate the artwork with its environment.
The space within the mural is thoughtfully organized to create depth and movement. The bear, placed in the foreground, serves as the anchor of the composition, while the fish swirl in the middle ground, following the orb’s path. The orb acts as a connector, bringing together the natural and self-reflective elements of the piece. Though the human head is large, it remains in the background, reinforcing the idea that the mind, while important, is secondary to the more primal forces of nature and self-discovery. The arrangement of these elements creates a sense of flow and connection, encouraging the viewer to reflect on the relationships between nature, self, and the forces that shape our lives. -
Motherhood and Migration
This towering mural covers the side of a large building, prominently featuring a monumental woman holding the glowing golden silhouette of a child gently in her arms. The woman, depicted with a serene and thoughtful expression, wears clothing painted in earthy tones accented by vibrant touches of red, green, and black. Her hand rests on the child's head, establishing a powerful visual representation of emotional connection. The mural contrasts the rough texture of the brick wall with the smooth, realistic detailing of the figures, emphasizing the lifelike quality of the central subjects. -
Our Common Threads
Our Common Threads is a mural displayed on a deep black wall in the ChromaZone that reaches two stories in height. Capturing the majority of the wall’s space, is an Asian woman. The main point of focus is her face, with a bright skin tone that stands out against the flowing blue that shades most of the mural, including her hair. She is in the act of stitching threads and patterns into her dress, with smaller animals to her right and left. Overall, the mural is symmetrical and heavier toward the bottom. Against the black backdrop, the blue coloring, in addition to vibrant greens and pinks is bright and clear. There is even a tuft of purple hair that sticks up toward the front of her hairline and a white head piece that reflects Hmong culture, striped with black, which similarly stand out. Blue is certain to be the main color, in which her aqua hair transforms into waves of water toward the left of the mural. Additionally, her dress, which takes up the bottom half of the mural, is a similar bright blue that also seems to transform into clouds or waves on the left. The lines that evolve to these interesting features, all are thin and flow on a mysterious breeze. As if the lines themselves that paint the entirety of the mural, are themselves threads. Lines that weave and flow with both strength and grace.
When taking a closer look, other details begin to take form that appear to show Hmong culture. To the right of the mural, is a detached hand of the woman. Pink petals delicately fall from her palm, as blue fingers tightly hold a needle tied to a thread flowing to the right. A thread that is actively sewing small and intricate details of the lower segments of her dress, that continue to reflect Hmong culture. On the woman’s left, a deer sits sprinkled with a few colorful flowers. This deer mirrors a calmness similar to the woman, and gazes toward the stitch work of her dress. Assisting the mural, the wall of black behind the art is an extremely smooth backdrop; almost matte. To overlay the wall, the colorful mural is smoothed as well. Not one color appears solid, and all fade and flow in shades that help continue the smooth and curved appearance.
Looking closer still, reveals further intricate details seen in the mural’s foreground which stand stark against the smooth middle-ground and background. These many details bring together the reoccurring concept of Hmong heritage. There are small houses likely from a small Hmong village, that reside on the bodice of the woman’s dress. Reflecting on the blue coloring, an illusion of sky is created for the small village. There are also tiny people both toward the bottom and flowing fabric of her dress, and on floaties in her hair that further the illusion of water. More than likely, the villagers of the small village. Some are farming, and all are going about their day, in a calm and lovely environment. Next to a farming villager on the lower right of the mural, is a pink elephant that continues an Asian trend of beautiful representation. Overall, the detailed landscape continues the flow and weave of a landscape that has been solidified with the main woman of the mural. The subtle and primary features of the art fit together in sewing a powerful, yet soft message of Hmong beauty and strength that radiates from the mural. -
La Cigarra
La Cigarra is composed of many different symbolic references including hands holding a cicada, a sun and moon, flowers and other foliage, and ribbons branching out on both sides of the hands. The hands are front and center on the mural, standing out as the focal point. The flowers and foliage fill in the background but still give meaning to the mural, and the sun and moon are at the top of the mural expressing that time is passing. Together they bring a great story during a global epidemic. Lots of bright colors are used in this mural like reds, yellows, and blues. These colors seem to brighten up the mural and uplift the mood. The warm colors help represent coming out of a dark time, and the sunlight makes the colors “pop” even more. Similar lines are used throughout the mural. They are mostly thin and neat lines that have curves that form their object. They do not interfere with the objects and make them distorted, so we know what the pieces are. The lines are like this to not distract or take away any aspect of the mural and not draw attention away from the meaning and colors. The short lines that are brush strokes in the hands, moon, and sun enhance the texture of the mural. Short brush strokes are used when painting the hands, moon, and sun, giving the mural a sense of texture within the mural. This causes those pieces to pop out to the eyes and become the focal point of the mural. These short strokes also help give the mural a sense of depth, giving a feeling of a true foreground and background. The artist uses the use of foreground to express what he feels is most important, again which is the hands/cicada and the moon and sun. The foliage and flowers are more in the background to not be the focal point, but still to use up space and bring meaning to the mural. Johnson-Ortiz does a great job of using the foreground to express what is most important to him, while still filling up blank spaces in the background with the foliage. -
Mitakuye Oyasin (All My Relations)
The mural spans the entire side of a building and brings together many different visual elements in a bold, visually engaging composition. It is a collaborative work by two different artists, which is reflected in the merging of contrasting styles. The primary focus is on the large, fragmented faces of three animals: an eagle, a wolf, and a bear. These faces are incomplete and overlapping, contributing to a sense of fragmentation and layered complexity. Surrounding these central images are stylized blue cartoon birds, colorful abstract patterns, and large block letters, all arranged in a way that creates balance and guides the viewer’s gaze across the mural. The mural uses a vibrant combination of warm and cool tones. Bold reds, oranges, and yellows contrast with calming blues and teals, generating a dynamic and energetic atmosphere. The animal portraits are painted in more realistic, muted tones, while the cartoon birds and patterns utilize more playful, saturated colors. This contrast enhances the layered effect and highlights the distinction between the two artistic styles. There is a diverse use of line throughout the mural. The animals are rendered with smoother, more refined outlines that contribute to their lifelike appearance. In contrast, the cartoon birds and abstract patterns are defined by thicker, sharper lines that provide a sense of boldness and immediacy. Diagonal lines and angular shapes are used throughout the piece to introduce a sense of movement and liveliness. Though the mural is painted on a flat brick surface, the artists skillfully create the illusion of texture, particularly in the animals' feathers and fur. The natural texture of the brick wall occasionally shows through the paint, adding an additional layer of roughness and depth that enhances the realism and visual interest of the work. The use of space is strategic and layered. The fragmented animal faces dominate the foreground, immediately drawing the viewer’s attention. Behind them, the birds, letters, and decorative elements help unify the mural while occupying the middle ground. The background is filled with blocks of solid color and geometric patterns that provide depth without overwhelming the composition. This careful layering produces a subtle three-dimensional effect on an otherwise flat surface. -
“Frida” (2023)
A mural of Frida Kahlo (Mexican painter known for vibrant self-portraits) not only well-balanced in its composition but also in how it incorporates a variety of different details that center upon Kahlo as the focal center of the piece. The general texture of the mural is flat and smoothed out, providing a nice canvas for a viewer to look upon the foreground, background, and focal center piece of Kahlo without interruption or distortion that could compromise the mural’s composition.
The foliage in the background and foreground, the floral adornments in Kahlo’s hair, and the floral design of what she is wearing all provide a dynamic and beautiful composition that contrasts other features such as the skulls that dangle from her hand or the stoic hooded animal that lays right beside her waist. Adding this with her slightly off-centered position gives off this sense of awareness or attention to be called upon viewing the piece. The color palette used across this mural is vibrant and colorful, with a variety of blues alongside rich greens, yellows, and red or magenta colorways allowing the mural to pop due to the contrasting of the colors.
Follow this with the bold usage of colors in the foreground, alongside Kahlo, again, as the focal center of the piece and the unicolor background, imparts a strong-willed and determined undertone that is intense in the message it’s trying to purvey. The detailed line usage that makes up Kahlo’s figure is realistic in its approach, but also harmonious in the patterns making up the colorful and floral clothing covering her body.
The thicker and bendier line work that makes up the foliage and other pieces of the foreground (such as the animal) provides a starkly balanced, clean look to the being from which it is achieved through the melding of the different line strokes. And given that the architectural design of the building can get in the way of the composition if not done correctly (windows and doors), Frida overcomes this and even uses it to its advantage.
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The Magic Hour
Composition:
The mural depicts a boy sitting down with one arm resting on his knee as he gazes into the distance. Several flowers are placed on him near his ear, emerging from his shirt collar, on his arm, and by his hand. Additional flowers appear in the background. A sunset or sunrise serves as the backdrop. Near the boy’s feet and legs, abstract landscapes of some kind are depicted
Color:
The boy’s base color is gray, but it is illuminated by various bright hues, making the gray visible only in certain areas. These colors seem to light up different parts of the child, transforming what might initially appear bleak into something vivid and dynamic.
Line:
The mural uses thin lines but relies more on sharp and subtle color contrasts to define the imagery. This technique allows the different elements of the mural to merge seamlessly, creating a unified composition where every part feels naturally blended.
Texture:
Physically, the mural is painted on a brick wall, a rough surface. However, due to its large scale and intricate details, the brick texture becomes almost unnoticeable.
Visually, the mural has a soft texture. The use of bright, flowing colors combined with well-detailed flowers creates a clean, gentle, and harmonious image.
Space:
The composition centers around the boy, with a landscape, featuring an abstract mountainous and tree-covered range, positioned near his legs, appearing in the foreground. The boy towers above this scenery, reinforcing his presence as the focal point. Behind his head, a sunset or sunrise serves as a luminous backdrop, enhancing the depth and atmosphere of the mural.
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The Kaposia Times
This mural, located in the Chroma Zone at 715 Raymond Avenue, St. Paul MN (Imníža Ská), was created by Marlena Myles in 2021. The mural consists of one wall split into four sections. Starting from the left: we see outlines of buildings making up the Minneapolis skyline above and behind some clouds – both (skyline and clouds) sitting behinds some branches of a sycamore tree with a few leaves. We also see stars in the sky as well as some native flowers in front of the skyline. The next section showcases a lighter blue from the background as the Minnesota River and Mississippi River, as well as a sailboat, tipis, and a heron around the water with additions of a horse, more flowers and stars. The next section to the right - and the focal point of the mural – depicts a Native couple sitting on a bench, reading the news entitled “The Kaposia Times” along with the text “Imníža Ská” which translates to “White bluffs/cliffs” and is the Dakota word for St. Paul. They both are wearing clothing that appears to be a fusion of Dakota and English styles, and the paper’s date of 1851 references the treaties such as the Treaty of Mendota and the Treaty of Traverse des Sioux that were signed the same year, perhaps accounting for the English influence in clothing. The couple are also both decorated with flowers in their hats and they both have traditional Dakota braids as well as moccasins. In the background we see a few more tipis and more of the Mississippi. The final section highlights the St. Paul skyline with added detail of the First National Bank Building, more stars, and a moon in front of the clouds the buildings sit behind. Below the clouds, we see more native wildlife – three buffalo as well as another horse and its tracks and two tipis. The layout of the mural is such that your eyes immediately go to the couple in the center, as the bench and woman’s dress contrast with the blue background. From there, you can follow the Mississippi to the left or right, towards St. Paul and the horse and buffalo, or towards Minneapolis – seeing the horse, heron, and sailboat, seeing stars and tipis either way. The mural utilizes many pastels, such as the blue background, pink and purple flowers, the sail, some buildings, horses, and the woman’s clothing. The stars are all yellow and oranges for leaves with some earthy tones like browns and tans used for the man’s clothing and top hat, buffalo, tipis, building, boat, stems, branches, and leaves. The use of color and palette is very similar to Marlena Myles’s “We Are On Dakota Land” bus, as well as similar design elements like the horses and some flowers. Her use of color refreshing and very unique to her, and if I had to describe it in one word, it would be optimistic. The mural utilizes very defined lines, with everything but the stars and curvy rivers being outlined in thin black lines, most being straight, other than the braids and curved items like flowers and animal bodies, making the mural detailed and defined. The mural was painted on a brick wall but that is very smooth allowing for an easy viewing experience. The lines of the brick are still defined, but the faces of the individual bricks are relatively flat, likely allowing for an easier surface to paint on. However, the wall’s structure has some additional texture as two sections stick out from the wall and this space is used to continue the mural, but towards the bottom is also the perfect size spot for an added flower (the same on each part sticking out). Myles also created depth on the mural by placing the items relative to each other, for example, the sycamore tree branch is right in your face, and behind it sits the buildings and clouds of the Minneapolis skyline. One can tell they are behind the branch because Myles places a leaf in front of them to partially cover up a building and cloud. The flower on the left-most wall also sits in front of the Minneapolis skyline, adding more depth. Other examples include tipis being different sizes to show distance and the heron and St. Paul sitting in front of the Mississippi. The foreground consists of plants and wildlife, the middle ground is the people, buildings, and clouds, and the background is the two rivers and a solid darker blue for the rest of the background. -
Somos Libres
Composition: The mural shows people grouped together, filling almost every inch of space. All are painted in detail, and their faces and bodies are directed in every possible direction, so that there is a sense of movement and life. Most of the figures are reaching upwards or supporting one another, which provides emotion and energy. The mural is arranged so that the eye of the viewer moves naturally around the wall, following the connections between the figures. While the group is bunched together, each individual person is made to feel significant and singled out as an individual, creating a sense of strength and solidarity. The mural figures are not differentiated from each other by fixed backgrounds, but instead blend into one another, indicating their shared experience.
Color: The colors in this mural are very rich. Warm colors like oranges, browns, and yellows dominate the painting and give a feeling of warmth, hope, and resilience. Warm colors are contrasted with blue, green, and purple cool colors, which add variety to the scene. The artist uses light hues to highlight prominent details, such as faces, hands, and symbolic icons like birds, which are distinct from the rest of the mural. The use of color is smooth in some areas and textured in others, adding to the emotional content of the work. Overall, deep color schemes help to transfer emotions of freedom, power, and unity.
Line: Lines within the mural are curved and fluid, and this gives an impression of energy and movement. Curved lines lead the eye from figure to figure, and therefore the mural appears alive. The figures are drawn with thicker lines to define them and separate them from the rest of the world, so every person can easily be identified.
Texture: Although painted on a flat canvas, the brushwork of the artist creates a texture effect. The brushstrokes suggest the look and feel of fabrics like hair, clothing, and skin. Some areas of the mural are painted more smoothly, while others have thicker, more textured brush strokes, creating an almost touchable surface that adds to the excitement of the image.
Space: The mural is shallow meaning there is not much free space between the figures and the background. The figures are grouped upon one another, filling almost the entire wall. This lack of free space creates a feeling of closeness, being together, and shared hope. In other areas, brief pauses appear where birds and symbols float along the edges, creating a sense of upward movement and small pockets of open space that enhance the mural’s feeling of hope.