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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. -
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. -
Dakȟóta Ancestors
The mural Dakȟóta Ancestors by Danielle SeeWalker is a representation of Native American culture and heritage. The composition of the mural is centered around two female figures who represent the ancestors of the Dakota people. The side profiles of the women are depicted from their upper chest to head. This emphasizes how the women are turned to face each other, and most likely gazing at each other. Surrounding them are various Dakota floral designs. When the mural is split vertically, it reveals a symmetrical structure, with a large floral piece at the center and each woman positioned on opposite sides. Another smaller floral design is placed next to each figure, balancing the overall composition. Furthermore, each floral design is vertically symmetrical, contributing to the harmony of the mural.
The color palette in the mural is bold and highly saturated utilizing a vibrant array of colors. SeeWalker incorporates a large spectrum of colors, from the bright green of the older woman’s garment to the grey of her hair. The younger woman is shown in a purple top with black hair. The surrounding floral designs feature a variety of bright colors, each unique in tone, which highlights their individuality. By choosing bold, rich colors rather than the stereotypical palette often associated with Native American art, SeeWalker conveys a sense of strength and pride in the heritage of the Dakhota people. There is no shading in this mural. This deliberate absence of shading might serve to strengthen the visual impact of the piece, allowing each section to stand out. Each color is separated by strong black outlines, which help define the individual elements and add clarity to the composition.In terms of line, SeeWalker uses thick black lines throughout the mural, with a predominance of curved shapes. Most of the floral elements are composed of curves that converge to form pointed tips, with circles at the center of each flower. The women themselves are framed by curved lines, and their braided hair is depicted with small, repetitive curves that flow inward to the middle floral piece. This curving pattern guides the viewer’s eye through the mural, creating a sense of movement and unity. The only straight lines in the mural appear in the earrings of the figures, which are triangular in shape and filled with four smaller white triangles, adding a sharp contrast to the other organic forms. Within the earrings, there are lines of various colors that serve as a background to the white triangles. Additionally, it is also important to note the absence of some lines. There are no lines to define the features of the women’s faces.
Texture is minimal in the mural, as the focus is placed on the clarity of shapes and the relationship between the figures and the surrounding elements. The smooth surface of the brick wall allows the paint to appear flat and uninterrupted. However, the patterned circles on the women’s garments may suggest beading or decorative embellishment, subtly introducing a sense of texture through design rather than surface variation. Regarding space, SeeWalker uses the negative space around the women as a background to highlight the main focus, which is the ancestral women and the floral. The dark gray background allows the colors of the mural to pop out. Additionally, there is no overlapping between the women and the florals, which keeps each element distinct and separate, further highlighting the importance for both the figures and the floral designs. Overall, the mural's composition, color, line, and space work well to convey a sense of ancestral and cultural pride, inviting viewers to reflect on the connection between the Dakota people and their heritage.
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Coming Home
Coming Home is a vibrant and profoundly symbolic mural, as it explores the intricacies of immigration and the emotional voyage it entails for every individual involved. It illustrates two women from distinct cultures and ethnicities who are visually interconnected but divided by a symbolic line. An American woman representing established immigrant groups pauses in her warmly lit living room to observe through a telescope. Embellished with a log cabin quilt design variant, this environment represents stability and household tradition. Dressed in a vibrant yellow dress and bearing a suitcase, a younger woman from the Middle East enters an expansive blue space on the right, symbolizing the challenges and opportunities of new beginnings. Her background showcases a ten-pointed Islamic star, symbolic of Islamic art, representing her cultural origin. The mural is divided into two halves, each expressing a unique cultural and emotional place. The telescope bridges the division, a diagonal line that directs the viewer’s gaze throughout the mural, linking the two women visually and thematically. The positioning of the figures—one stationary and anchored in her surroundings, the other in motion—highlights difference while establishing balance, as they reflect each other’s dimensions and relevance. The geometric patterns behind the women offer structure and repetition, harmonizing with the organic curves of the figures and their attire. The color scheme enriches the narrative. Soft purples and yellows on the left imply warmth, nostalgia, and tradition. Conversely, cool blues adorn the right side, representing the unknown and the enormous possibilities of the immigrant experience. The vivid yellow of the traveling woman’s outfit symbolizes hope and optimism, but the complementary purple in the settled woman’s environment signifies reflection and stability. These complementary colors generate visual harmony, representing the potential for mutual enrichment via cultural interchange. The painting combines various straight and curved lines to direct the viewer's attention and foster dynamic interactions. The geometric designs—linear and angular on the left, complex and star-shaped on the right—represent the differing cultural heritages of the two women. The women's flowing hair and garment lines soften the composition, giving movement and vitality. The diagonal line of the telescope serves as a focal point, physically and thematically linking the two women, while the birds in the upper right corner direct the viewer’s gaze upward, suggesting independence and migration. The telescope indicates a purposeful endeavor to connect and understand beyond cultural boundaries, but the complementing colors of the women's attire imply harmony and the prospect of cultural synergy. The Arabic word "home" is engraved twice, emphasizing the common human desire for belonging. The depictions of Lady Liberty's head anchor the greater backdrop of immigration and the principles of liberty and opportunity, and the flock of birds in flight represents migration and aspiration. -
Flowers for the Friends who Picked Me Up
Composition: Looking at the composition of this mural, there are two larger than life looking figures. To take it all in, you need to look at this mural from a distance. The faces cover over half of the wall, but it’s important to note that their arms and hands also take up space in the middle. Both figures are holding hands showing a sign of unison. Looking at the higher portion of the piece we see a red bird placed between both of the figures. This bird must be important, since both eyes of the figures are fixated on it. The figures themselves compose nicely, there is a lot of curvature between the two bodies that makes the art flow in a good pattern. Color: The colors shown in this mural are very simple. All of the primary colors are being used in this mural. Both red and blue are repeated throughout the mural, and all three are used to create the color white used in the eyes. I was very struck at the bright blue faces of the figures at first glance. The figures are the only blue in this mural, there are also many white dots shown throughout the bodies, arm, face, and chest. All of the flowers, background, and flowers are painted red, and have glares of white in them to help provide texture. Line: Within this mural, there are many forms of lines. Looking at the figures, those lines have a lot more curvature than do the lines on the bird above them, where these lines are more sharp and jagged. This can also be seen with the flowers. The flowers have a mixture of curves coupled with pointy and jagged lines. Texture: There is a lot of smooth surfaces shown on the mural. This is greatly contrasted with the specks and dots shown in the mural as well. The wavy and pointy like end on the flowers also help provide texture throughout the mural. Space: First thing to look at, is how this is a 2-D surface, however the artist is creating an 3-D illusion. One thing to look at is the holding of hands in the middle, creating an overlap. There is also some shading on all of the figures. Looking at the faces and the bird in the middle, these figures are very bright to bring it closer to the surface. Looking at the bodies of the figures, they are darker, this helps show that they are farther from the surface. -
Untitled
This highly intricate and abstract style of graffiti is illustrated by interlocking letters, complex designs, and vibrant colors which to new viewers often making the text difficult to read, this is known as "Wildstyle". This mural is a remarkable piece of work and it was a very cool experience. The composition of the mural included a Wild style format along with random figures and white spray painted icons in the middle of the letters. Along with this, Smith utilized an array of colors much purple and warmer colors including orange and yellow. Complimented with the array of color palettes smith used several different shapes to make the complexation of the piece stand out. The brick texture of the mural also compliments the “Wildstyle” approach because it contributes to the urban appearance of the piece. This piece also took up the entirety of the side of the building making this a very large space that is taken up. This very much so made the piece more appealing to the people who are able to experience this form of art. Color: The mural features a vibrant array of colors, with a focus on purples, warm oranges, and yellows, creating a dynamic and eye-catching palette. Size: Spanning over the entire side of a building, the mural is massive in scale, making it both immersive and eye-catching. Depth: Smith incorporates intricate shapes, Wildstyle lettering, random figures, and spray-painted icons, layered over the brick texture to enhance the mural's complexity and urban aesthetic. -
La Cigarra
“La Cigarra” by Aaron Johnson-Ortiz is a beautiful mural placed in St. Paul’s Chroma Zone. It is comprised mainly of a set of hands holding a Cicada, as blue and yellow streamers flow away containing phrases in Spanish. On either side of the mural, which covers two adjacent sides of a gas-station building, lies a sun and a moon shown a bright yellow/orange color and cool blue, respectively.
The piece does not show much symmetry or patterns structurally but is very eye-catching in the sense of color use, shape and texture. The colors are bright and draw attention to key components of the piece. The text on the ribbons is a bit difficult to fully translate to English but can be roughly translated. The ribbons appear to read "Do not sing me songs of love, for I do not want to know what they are” and "Like a rumor that sneaks in, you go asking, 'Will I live?'"
Symmetry
The colors in this mural seem pastel-like, although many of the colors are lighter & bright. The brown hands, resembling a tree, holding the cicada, and green leaves behind are the main focus points of the mural, with the contrast between the hands and cicada drawing the viewer’s attention to the focal point of the piece. The mood and tone of this mural seem like they want to be more stable throughout most of the mural but with hints of inspiration and life stemming from the hands and cicada. The flowers also are different colors on each side, with the roses by the moon and a bright-pink flower by the sun. Many earth tones were used in this mural to show the nature aspect of the mural and components themselves. Line is the biggest component of this mural, where most of the composition of each shape is made of lines.
Color
The size of the lines mimic the size of the shape they compose, with very broad strokes being in the hands. These curves create a sense of organic movement, making the composition feel alive and interconnected.
Size
The lines give a sense of nature within the mural, the combination of the broad strokes and brown tint on the hands look similar to how the trunk of a tree is composed. Thick outlines around major components, such as the hands and moth, help define these focal points against the intricate background, adding depth and clarity. The texture in this mural is prominently seen through the brush strokes throughout each piece of the mural. Very broad strokes are noticed in the hands, where there are layered, shorter strokes in the sun, almost looking like Van Gogh’s “Starry Night”. The use of these lines and strokes are more seen in the “living” objects, whereas the ribbons look smoother.
Line
The artist uses the wall’s surface to create layers, with distinct foreground, middle ground, and background elements. The hands, moth, and ribbon are in the foreground, while the flowers and leaves serve as the middle ground. This layering allows for the mural to have a sense of depth and seem a lot larger than it actually is. The depth created by these layers enhances the three-dimensional environment, giving the viewer a sense of actual nature.
Depth