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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. -
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. -
Under the Same Sun
This mural features a vibrant array of colors, with shades of green and red being the most prominent. It resembles a painting on canvas, portraying two parts of a city connected by a bridge over a river, with a large sun in the background, evoking a sunset. The sky’s red hues, typical of twilight, enhance this impression. A boat can be seen crossing the river, adding a dynamic touch to the scene. The natural elements, such as leaves and vines, are painted in various shades of green, with hints of orange suggesting the onset of fall. These details bring a sense of nature's closeness to the viewer. Different types of leaves are scattered across the mural, some symmetrical while others appear to be swaying in the wind, adding movement and realism. The mid-background buildings feature shaded walls influenced by the sun’s position, with colors transitioning based on their distance and orientation. The color palette includes shades of red, pink, blue, and brown, with gray contours representing roads and streets. Many buildings display symmetry in window placement and size, enhancing their structural clarity. The bridge connecting the two city sections is an old-style structure, identifiable by its arched design. It is primarily painted in gray, with darker tones highlighting connecting rods and bins that form part of its framework. The sun dominates the farthest background, drawing immediate attention with its size and impact on the overall mural. Its partially hidden base indicates it is setting, and the surrounding red and orange sky emphasizes the beauty of this transition to night. The boat on the river is painted with three main colors: white for its windows, brown for its doors, and pink for its structure. Its symmetry in windows and other elements adds to its visual appeal. -
Unci Maka
Composition: The mural features a balanced and symmetrical composition extending across a large exterior wall. Key focal points include the quilt star-like motif and the text “UNCI MAKA,” positioned centrally within the mural. The arrangement of the sunflowers, flowers, and flying creatures creates harmony and directs the viewer's eye along the length of the mural.
Color: The color palette of the mural consists of light blue as the background, contrasting with yellow for the sunflowers, red and orange for the quilt star motif, and purple-pink for the cone flowers. The use of color highlights key elements and directs the viewer’s attention toward the text and central quilt star motif.
Line: The mural includes a variety of line types, from thick outlines that define the primary shapes (such as the flowers, star, and insects) to the curves in the petals and bees’ wings. Curved lines dominate, giving the mural a sense of movement and flow. The straight lines in the text contrast with the rounded, organic forms, providing balance and structure. This contrast between straight and curved lines emphasizes the text, separating it from the surrounding elements.
Texture: The mural is painted on a rough wall, but the painted forms use smooth, solid color fills with consistent line work. The contrast between the wall’s physical texture and the visual appearance of the paint creates a dynamic effect. The physical texture of the wall connects the mural to its setting, interacting with natural light and changing its appearance based on the time of day.
Space: The mural uses a clear spatial arrangement, with flowers, text, and the star in the middle ground. Foreground elements include the larger flowers, like the sunflowers and cone flowers. The background is composed mainly of the blue sky and white clouds, establishing a sense of depth. The perspective remains flat, with elements on a single plane, maintaining focus on each object. Overlapping elements, such as the flowers, bees, and butterflies, create a layered visual experience.