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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. -
Coming Home
Scale: The size of the mural is very large, taking up the entire side of a building wall. To be able to capture the full essence of the mural as a whole, the viewer must stand far away. Standing up close provides the opportunity to see the intricate details that Al-Mansour has placed within her mural, whether it is within the background, the two large figures, or the objects.
Composition/Pictorial Space/Pattern: Al-Mansour divides the mural into two equal halves, each presenting an interior space with a single woman in the foreground. This bilateral structure creates a stable and balanced composition, with the two figures positioned toward the center facing each other while looking at one another through a gold-colored telescope. The woman on the left is standing in the foreground of a room with the wall and floor covered in purple squares and triangles. Additionally on the walls are two images of the Statue of Liberty’s head. There is also a window on the wall of the building itself, which Al-Mansour turned into a window of the left woman’s room with curtains. Positioned in the center of the room, there is a blue couch and chair with a yellow pillow, and a brown wooden coffee table with a book on top. The woman herself has shoulder-length blonde, wavy hair and is wearing a deep purple/magenta dress with black shoes while holding purple glasses. The woman on the right is standing mid-step in the foreground of a blue room with the wall and floor covered in a ten-star Islamic pattern. The wall also has an Arabic word written inside two of the stars, as well as a flock of birds flying to the left. The woman has dark, curly hair with a yellow hijab, and is wearing a yellow dress and brown sandals while holding a brown briefcase.
Al-Mansour placed both women in the foreground, toward the middle of the mural, making them a primary focus. Both women appear to be 3D, with shadows on the floor of the rooms, as well as highlights and shadowing on their clothes and bodies to give them greater dimensionality. The furnishings and patterns recede toward the back of each room, with a horizon line separating the wall from the floor to create spatial logic. The couch, chair, and coffee table in the purple room are all drawn smaller to give the perspective of them being behind the woman. The birds on the blue wall are drawn in different sizes, showing that some birds are closer to the viewer and some are farther away. All of this places the viewer at the forefront of this space, closer to the women who are at the front of the room.
Form: The women are drawn with attention to volume, using highlights and shadows to give them a more natural look. These natural, curvilinear forms of the women contrast with the rectilinear shapes of the background patterns and room edges.
Line: Contour lines define the edges of the figures, clothing, furniture, and architectural elements, which clearly distinguish from different parts of the mural. The geometric patterns rely on strong straight lines to establish structure in the walls and floors. Curved lines appear in the women’s hair, the folds of their dresses, the arc of the telescope, the cushions, and the curtains.
Color/Light/Tone: The left room uses shades of purple for the floor and walls, with a blue couch and chair and yellow pillow and curtains. The woman herself is also wearing a deeper magenta dress holding magenta glasses that appear to fade into her dress, but with brown shoes. The other room uses shades of blue, with some light purple showing up the closer it gets to the purple room. The birds are drawn in dark blues and purples to contrast the blue wall, or sky. They are also painted solidly, giving the illusion of shadows of birds flying in the distance, with not as much depth as the figures or furnishings. The yellow dress and hijab of the right woman contrasts the blue of the background, making her stand out more than even the left woman. The two dress colors are complementary, while the background colors are analogous colors. The way that the shadows on the women are depicted shows that the light source appears to be in between them. The telescope is painted in gold, also with shadowing and highlights to give it depth. The tonal shifts on the floor, clothes, and furnishings also enhance the illusion of form and depth.
Texture: Al-Mansour appears to use shading, with highlights and shadows, to create texture throughout the mural. Each woman’s hair and dress, as well as the furnishings, display texture. The left woman’s blonde hair looks straight with a few waves, and her dress is looser around her body and looks to be stationary. On the other side, the right woman’s dark hair shows lots of curls with her hair and hijab flowing in the wind, and her dress is tighter around the waist with some vertical ruffles that also looks to be flowing in the wind. Texture is also seen in the furnishings on the left side. The curtains framing the window are painted in such a way that suggested gathered fabric. The couch and chair cushions, as well as the pillows, were painted to look cushiony. -
Sometimes Water Keeps You Grounded
Sydney James's mural, Sometimes Water Keeps You Grounded, masterfully blends realism, abstraction, and playful illustration to create a dynamic and immersive composition. At the heart of the piece is a realistic portrait of a young child, placed prominently on the left side. The child’s detailed face serves as the primary focal point, drawing viewers in with its lifelike qualities. This portrait is balanced by a vibrant, abstract background on the right, featuring stylized, colorful elements that contrast with the realism of the child. This asymmetrical arrangement creates a harmonious composition, with the figure and background engaging in a dynamic visual dialogue. The color palette plays a crucial role in establishing the mural’s mood and tone. The warm tones of the child's red shirt contrasts with the cooler blues, purples, and greens in the background. This combination of warm and cool colors evokes a sense of vitality and calmness, suggesting themes of grounding and fluidity. The playful, cartoonish design on the shirt, with its bold blues and pinks, adds an element of whimsy that further enriches the narrative and visual interest. James uses a variety of lines to add depth and movement to the mural. Curved, organic lines dominate the child's face, creating a natural, lifelike quality, while thicker, straight lines appear throughout the composition to establish structure and flow. The illustration on the shirt features bold, smooth lines typical of cartoons, providing a playful contrast to the realism of the portrait. This interplay between soft, flowing lines and sharper, defined edges adds complexity and keeps the composition dynamic. The murals texture enhances its visual impact with the soft shading of the child's face contrasting against the flatter graphic design of the shirt and the shimmering, almost glass-like background. The thoughtful use of space further contributes to the mural's depth, with the child in the foreground and the background elements receding, creating a layered immersive experience. Overall, the mural is a vibrant exploration of identity, imagination, and expression.