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The West Indianapolis community (Oliver Street to Raymond, White River to Holt Ave) lies “between the rivers” of Eagle Creek and the White River. It is one of the oldest neighborhoods in Indy, with many West Indy families having lived here for multiple generations. In the spring of 2015, eight traffic signal control boxes, created by professional artists from designs voted on by a panel representing both art experts and the neighborhood residents, were painted as part of a Great Indy Cleanup project. Keep Indianapolis Beautiful’s Great Indy Cleanup program helps community groups organize to combat heavy litter and debris that has accumulated in public spaces such as streets, alleys, greenspaces, and waterways. Some cleanup efforts also include new plantings and community murals, all done by neighborhood volunteers. For more information about the Great Indy Cleanup program, visit http://www.kibi.org/programs/beautification/great-indy-cleanup/
This traffic signal box is located on the southwest corner of Harding and Howard street. The artist, Brandon Fields, uses expressive lines to show the fluidity of a race car’s motion. You can almost hear the noise, feel the vibrations, and energy associated with the sport of racing from just looking at this depiction of this single racer who is seated in his bright yellow racecar and surrounded by a crowd of blue silhouetted figures. The piece is located near the site of the factory that produced the Marmon Wasp, the car that won the first Indianapolis 500 race.
Radar No. 3
Arnaldo Pomodoro designed this bronze work in 1962. It is a gift from the Lannan Foundation. The Lannan Foundation is ” a family foundation dedicated to cultural freedom, diversity and creativity through projects which support exceptional contemporary artists and writers, as well as inspired Native activists in rural indigenous communities.”
Rader Street Art Sheds
These colorful and functional sheds were created to store the materials and tools necessary to build and maintain community gardens, which were initially created on facing vacant lots at the corner of 26th and Rader in Indianapolis. The gardens were built by the neighborhood as part of the RECLAIM project, which aims to transform blighted properties in the Northwest neighborhoods using art combined with the energy, labor, power, and strength of community members.
The sheds are covered with bright murals that were designed after community conversations and painted by community members. One shed displays excerpts from Maya Angelou’s poem “Still I Rise,” and is combined with images derived from Egyptian culture. The message is that the Egyptians were a strong, proud African people that neighborhood residents might pattern themselves on. Other sheds use imagery of the phoenix–symbolizing power and beauty rising from destruction–as well as the panther, and floral motifs representing growth. A signpost indicates the direction and distance to important community resources.
In 2019, new greenspaces were implemented at 29th and Rader, near 28th and Rader, and at 25th and Rader (2 sheds). The sheds were painted by professional artists Shamira Wilson, Mechi Shakur, Matthew Cooper, and Tasha Beckwith, respectively.
Wilson’s shed, which shows a bright yellow sun in her signature brilliant colors and clear graphic imagery wrapping around all four sides, includes two lines of text from Effie Lee Newsome’s 1922 poem “The Bronze Legacy (To A Brown Boy)”: “I thank God, then, I am brown. / Brown has mighty things to do.” Newsome (1885-1978) was one of the first African American poets to write primarily for children, although she only published one full volume (Gladiola Garden: Poems of Outdoors and Indoors for Second Grade Readers,1940).
Shakur’s shed is a Peter-Max-inspired psychedelic composition of a boy and a woman with long, flowing hair, set in in a brightly-colored landscape of floral and geometric shapes that includes a stairway and a door. The painted stairway is a visual extension of a set of real concrete steps, abandoned on the site when the vacant house was demolished. A picket fence surrounding the lot bears the painted work of neighborhood youth.
Cooper’s shed is an ode to neighborhood unity, with a theme of hands and fingers working together. The shed was painted with the assistance of teens from EmployIndy.
RECLAIM is the vision of two Indianapolis-based artists. Phyllis Viola Boyd is an artist, botanist, and urban designer. LaShawnda Crowe Storm is a community-based artist, community organizer, and urban farmer.
Through bold color and design, Barb Stahl’s mural celebrates the power of one action. Just as a single drop of water creates colorful ripples, the work of the Mary Rigg Community Center is a catalyst for community development and pride.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
Southwest of Martin Hall is Rain by Kevin Lyles. Rain uses steel and stone to capture Lyles’s impression of a rainstorm. His work is inspired by the inherent patterns, contrasts, textures, and contradictions in nature. He combines natural properties with the elements and principles of art and design to create work that interests and challenges him. Lyles has been a professor of art at the University of Rio Grande in southwest Ohio since 1990. He has a BFA from Abilene Christian University and an MFA in sculpture from Bradley University. Lyles’s work is included in private and public collections both regionally and nationally.
Quoted from: www.uindy.edu/arts/rain
This mural, of a cowboy on a bucking bronco trailing a rainbow from his left hand, was created during an informal artist residency in Indianapolis in the summer of 2019.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.
Located near the west entrance to the Capital Center, this sculpture is the original cast of this work. A second cast was created by the artist and submitted for consideration in the 3rd Rodin Grand Prize Exhibition in 1990. The invitation to participate in this exhibition came after the president of the Hakone Open-Air Museum in Japan saw an image of this piece installed in Indianapolis. Frudakis won the Hakone Award for the work, and the second cast was purchased by the museum for its permanent collection.
More info here: http://en.wikipedia.org/wiki/Reaching_(sculpture)
The word “reckon” is a slang term for the process of thinking. To reckon is to arrive at a deduction or conclusion using intuitive thinking and approximate guessing. The structure of the sculpture, with its bold shapes and vibrant colors, is that of a radiant energy – both a sun and a flower, both provider and receiver. It implies reaction and expansion, and the vitality of living energy. The artwork not only adds to the aesthetic value of the landscape, but also serves as a visual barrier to help keep motorists’ attention directed to the left as they enter the roundabout.
The artist, Brad Howe, began his career in Brazil after studying history at the University of Sao Paulo. His work presents the influence of inquiry into the aesthetics of various cultures and distinct movements in the continuum of art history. He is a native of Riverside, California and makes his home in Los Angeles. Reckon was purchased by the City of Carmel from the artist.
The project’s concept is growth from a common and discarded material that is associated with shelter and structure. Baker wanted to engage the viewer with the beauty of nature constructed from man-made objects used in a new way, a house for composed of stacked, recycled bricks in the shape of flowers. The bricks are cut in various shapes to create different petal configurations. The flat exterior side of the flowers is glazed and refired with added decal imagery of china patterns, wall paper patterns and architectural details, referencing the history of ceramics and buildings. Two like shaped flowers are bolted to metal pipe with brick wall ties on the exterior which read as the center of the flower. The various pairs are stacked on a brick base in the form of a house.
Reggie, Reggie, Reggie! Boom, Baby!
Located on an apartment building on Michigan Street near Delaware, you’ll find artist Pamela Bliss’ tribute to an Indiana icon, former Pacers player and Basketball Hall of Famer, Reggie Miller, who rounded out his career with a storied 2000 NBA Finals run and 2,560 3-point shots. Bliss, who felt Indy needed a visual representation of its love for Reggie, reached out to the building owner, the Pacers, and even the man himself to secure all the permissions needed to proceed.
The Reggie, Reggie, Reggie! Boom, Baby! mural is Bliss’ third featuring people who loom large in Indiana legend. She also painted Kurt Vonnegut on Mass Ave. and several famed jazz musicians including Wes Montgomery and Freddie Hubbard on Capitol Avenue.
Using wood as a primary material, Lowe creates sculptures that reference the myths and stories of his Ho-Chunk heritage. Based on the Woodlands landscape, his work explores the patterns of nature as it responds to generations of human intervention. “As a woodland Indian, I can’t ignore my environment . . . that’s what my work reflects,” he said. He hopes his emphasis on nature will encourage his audience to pay attention to environmental destruction. The “wood” structure in this piece is actually made of cast bronze and cast glass, which was completed at the Indianapolis Art Center with supervision from Lowe.
In memory of Sonja Eiteljorg from the Eiteljorg Family with support from Public Art Fund, Arts Council of Indianapolis, Indianapolis Cultural Development Commission
Quoted from: indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf
Return to Innocence
Flanked by two young girls blowing bubbles, Lueza’s mural includes a series of bubbles filled with strong color and imagery. As a Latin American artist and a mother of a young girl, the imagery in the circles represents various parts of the artist’s life.
The mural was one of 46 murals commissioned by the Arts Council of Indianapolis as part of its nationally renowned 46 for XLVI mural initiative.
Reunion was created in 1992 as a model for a larger Reunion sculpture now located in Kitakyushu, Japan. Originally made in balsa wood and foam core, it was later cast in bronze.
Originally, Reunion was located outside of the Indiana State Museum when the Museum was located at 202 N. Alabama Street, Indianapolis. The sculpture then moved to the original Herron School of Art location at 16th and Pennsylvania in Indianapolis. When Eskenazi Hall for the Herron School of Art was constructed in 2005, Reunion was then moved to the grounds of the new building. It is no longer on view, and was replaced by Gummer’s South Tower sculpture.
Don Gummer was born in Louisville, Kentucky on December 12, 1946. He attended Herron School of Art from 1964 to 1966, prior to attending the School of the Museum of Fine Arts, Boston. He also attended Yale University, where he received his BFA and MFA. Gummer, who is married to the actress Meryl Streep, currently lives in New York with his wife and children.
Richard and Annette Bloch Cancer Survivors Park
Consisting of approximately .98 acres and established in 1995, Bloch Cancer Survivors Park was located at 985 Indiana Ave until December 2017, when the sculptural elements were removed and placed in storage. The move had been anticipated for the previous five years, when it was determined that the cost to repair the deteriorating site would exceed the cost to move and reinstall it. It is anticipated that the park will be reconstructed on Indianapolis’ north side.
At the time of the original dedication it was one of the first parks established by Richard and Annette Bloch; Richard Bloch was a 24-year cancer survivor and the pair donated millions of dollars through the R. A. Bloch Cancer Foundation (now the Richard and Annette Bloch Family Foundation) to cities so they could build 25 similar parks in the U.S. and Canada. The goal in constructing the parks was to communicate that cancer is survivable, that fighting cancer is possible, and that a cancer diagnosis should not inspire fear. The parks were constructed by the Bloch Foundation until 2012. The Bloch Family Foundation continues to provide assistance to help people coping with cancer.
There are three identical elements in each of the Cancer Survivors Parks: a ‘positive mental attitude walk’ with 14 bronze plaques; a sculpture of eight life-size bronze figures passing through a maze representing cancer treatment; and a “Road to Recovery” path consisting of seven plaques explaining what cancer is and basic actions to successfully overcome the disease. Beyond these elements, every Cancer Survivors Park is different and conforms to the nature of the site and the community in which it is located.
The figurative sculptures in the Cancer Survivors Park were designed by the Mexican artist Victor Salmones in 1989 and are collectively entitled Cancer… There’s Hope. They represent the last commissioned works by the artist, who died of cancer shortly after completing the original models. The sculptures are cast bronze.
The Indianapolis park, which was the fifth to be built, received two 1996 Monumental Awards: a merit award for community development, and an achievement award for downtown development. The park is owned by the Indianapolis Parks Foundation.
RIOS (Random Information Organization System)
RIOS is located in the P2 level elevator lobby of the Central Library’s parking garage. It is a wall relief made from cast glass, representing numerous shelves of books. To Francis, a library is the original “random information organization system.” From afar, the view is of infinite shelves of books stretching to eternity, starting in the garage and seemingly passing through a glass wall into the elevator lobby area. Upon closer inspection, the books are shown to be stacked idiosyncratically and they take on individual characteristics, almost like people. Titles are visible on some of them–such as Indianapolis native Kurt Vonnegut, Jr.’s Slaughter-house Five–and the viewer is left wondering about the connections between them.
Ed Francis received his B.S. in Fine and Applied Arts at Southern Connecticut State University and his M.F.A. in glass from Kent State University. He participated in the Creative Glass Center of America Fellowship Program and was a teaching assistant at Pilchuck and Haystack Mountain School of Crafts. In 1995 he started the glass program at the Indianapolis Art Center, and soon after founded Off Center Glass, a specialty glass production business. He has worked in studios across the country and taught at Alfred University, the Rochester Institute of Technology, and the Indianapolis Art Center. Ed is a professor of art and head of glass studies at Tidewater Community College’s Visual Arts Center in Portsmouth, Virginia.
Rise 'n Roll Murals
Carmel, IN-based artist (Ne)Koda Witsken was commissioned to add murals to the interior walls of the Fishers District location of Rise’n Roll Bakery. The bakery is of Amish management and is based in Middlebury, Indiana: to honor the Amish culture of the business Witsken painted a horse and buggy, a common sight in the area of northern Indiana where the business originated. The style of the horse and its carriage is similar to the mural the artist painted in downtown Fishers called Mudsock Spirit; this one is called Rise and Shine. Witsken also painted an image of a traditional Indiana Amish quilt behind the bakery’s coffee station.
Koda Witsken is the owner of Hue Murals. Her work is characterized by intense color and a contemporary, yet representational style. Koda’s mission as an artist is to beautify spaces in an eco-friendly and culturally inclusive manner.
The White River has been undergoing revitalization, and it is now known for its beauty and the wildlife that inhabits the river. River Fish pays homage to that wildlife, in particular to four species of fish that are native to the White River: bass, bluegill, crappie, and catfish. The sculpture also celebrates the fishing culture that has been part of the Westside community for decades, as evidenced by the Westside Bait and Tackle Shop, located adjacent to the sculpture and in business for 67 years (as of 2019). The 12 kinetic elements are placed along the banks of the river in such a way that the water is seen behind them–as if they were part of the habitat–and when the wind blows just right, the fish move as if they were swimming.
River Fish was a collaborative project between the University of Indianapolis and the adjacent Riverview Apartments (developed by Strategic Capital Partners and Goodwill), and facilitated by the City of Indianapolis’ Public Art for Neighborhoods program. The project artists, James Viewegh and Nathan Foley, were members of the Art & Design faculty at the University of Indianapolis. Additional assistance was provided by the university’s engineering program and Maya Johnson ’20, a student in the university’s sculpture B.F.A. program.
This Riverside mural project was coordinated by the Indianapolis Museum of Art (IMA) as a part of Indy Do Day 2015. The mural was designed for the community by local artist David Anderson. IMA and IUPUI volunteers did the mural installation and painting on October 1-3, 2015. Mo McReynolds, the IMA’s coordinator for the project states, “We could not have accomplished this project without the generosity of Mike and Annie Martin at AR Enterprises and Summit Construction (across the street) who donated supplies, artist commission, and location.”
Indy Do Day, a community partnership led by the Rotary Club of Indianapolis, is a “day of service” that helps the people of Indianapolis get to know their neighbors, take ownership of their neighborhoods, and take care of one another. Indy Do Day is described here as “decentralized, ground-up, people-powered community improvement…about building the most civically-engaged community in the nation where every day is a Do Day.”
David Anderson is co-founder, owner/designer, and lead printer of On the Cusp, a boutique design and screen printing studio based in Indianapolis. Anderson has a B.F.A. in Visual Communication Design from Herron School of Art and Design and, as a native Hoosier, Anderson shares a deep love for the people around him. Anderson’s designs also reflect his love for illustration, typography, and history.
Rivoli Park Labyrinth
The mural was inspired by an actual walkable labyrinth in the neighborhood. Rivoli Park Labyrinth and Dimensions and Trigrams were part of a grassroots experimental program Andrew Severns had created with Lisa Boyles to create “Harmony through Geometry”. The murals were completed with significant volunteer assistance.
For more information please go to https://shawndramiller.com/2014/11/04/many-hands/
For artist information visit https://www.facebook.com/andrewsevernsart
Roads to Deliberate Dreams: Indiana's Geniuses, Ti...
Indiana has a rich and illustrious history of innovation and invention in transportation and related industries. Akinlana, a mural artist from New Orleans, Louisiana, created two coordinating murals celebrating this history.
Images in the murals range from early modes of transportation to modern marvels. Included are references to the use of Indiana’s waterways, land and air for transportation and the inventiveness and determination of Indiana citizens to master transportation despite all odds. Particular attention is also given to address the role of African Americans and Native Americans in the growth and expansion of Indiana’s transportation legacy.
Each mural is 7ft high and 30ft wide, with additional elements that project out in certain areas of the composition. Sculptures are approximately life-size and cast in long lasting lightweight fiberglass, the sculptures are bolted into the existing walls support studs. The murals are located in the Baggage Claim area on either side of the main escalator.
Robert Dale Owen Memorial
Robert Dale Owen Memorial is a public artwork located at the south entrance of the Indiana Statehouse along Washington Street in Indianapolis, Indiana. The memorial was dedicated to the state of Indiana in 1911 in honor of the politician Robert Dale Owen (1807–1877). The bronze portrait bust by Indiana artist Frances Goodwin has been missing on this memorial since 1970. The remaining memorial pedestal is made from three stone blocks. The top pedestal includes a commemorative plaque.
The 200 pound bronze bust is in the likeness of a bearded Robert Dale Owen. The portrait bust sat on the top of the pedestal, in the center, facing the south entrance of the Statehouse. Presently, the bust is missing. The remaining memorial pedestal is composed of three stone blocks and stands 70 inches high. The lowest block is 45.5 inches wide, 42.5 inches deep, and 10 inches tall. The middle block measures 32" x 28.5" x 10". The top block is 24" x 21.5" x 50" .
A memorial plaque is centered on the face in the middle of the top block and measures 20" x 24". It reads:
1801-1877 / An Appreciation / Erected in the honor of Robert Dale Owen by the Women of Indiana in recognition of his efforts to obtain for them educational privleges and legal rights. / author, statesman, politician, philanthropist / "Write me as one who loved his fellow man."
In 1905, the Robert Dale Owen Memorial Association was granted permission from the state to place the future memorial in the rotunda of the Statehouse. Today the memorial sits outside of the Statehouse walls, facing the southern entrance to the building where it was dedicated in 1911.
When fundraising efforts began in 1905 for the Robert Dale Owen Memorial, it was called "a woman’s movement" and was meant to draw attention to the ongoing struggle for women’s sufferage. The Memorial Association intended to raise $2,000-$2,500 for the commission of a bust and memorial. Artist Frances Goodwin was chosen for the creation of the bust. After Goodwin’s clay model was approved by the Memorial Association and by Owen’s son, Ernest Dale Owen, the final bronze bust was cast in Paris.
The completed work was presented to the state on March 8, 1911, "as a lasting memorial to a man who for many years persistently labored to secure just laws concerning the educational and property rights of women." The governor, state legislature and Owen’s great grand niece, Martha Fitton, were in attendance at the dedication.
In 1905, the Robert Dale Owen Memorial Association was granted permission from the state to place the future memorial in the rotunda of the Statehouse. Today the memorial sits outside of the Statehouse walls, facing the southern entrance to the building where is was dedicated in 1911. The original memorial includes a portrait bust of the politician on a pedestal with commemorative plaque. On September 19, 1970, the portrait bust was stolen.
The Robert Dale Owen Memorial Association was formed on June 30, 1905 by the Federated Women’s Club of Indiana to urge the women of Indiana to help raise funds for the Robert Dale Owen Memorial. The Association was made up of ten women from around the state and led by Julia Conklin. The group published at least two pamphlets that were distributed around the state to educate women about their efforts. Robert Dale Owen and What He Did for Women of Indiana offered a brief biography of the politician. Another pamphlet appealed to the women of the state to help in fundraising efforts, detailed why women should care about a memorial for Owen, and presented many avenues for donation. To women’s clubs dedicated to raising funds, they offered to send Association members to meetings to speak about the life and legacy of Robert Dale Owen. George B. Lockwood sold autographed copies of his book New Harmony Communities and donated the proceeds to the cause. Julia Conklin did the same with her The Young People’s History of Indiana. The Women’s Club of New Harmony was the largest contributing group, raising $50 for the fund. In their final meeting on December 30, 1912, Association member Julia Sharpe presented her official record of the work accomplished by the group. The volume included illustrations of each member and a reproduction of the memorial bust. The group gave the book to the Indiana State Library as a reference for future generations.
Frances Murphy Goodwin (1855–1929) was born in Newcastle, Indiana to one of the city’s oldest families. Both she and her sister, Helen Goodwin, were well known in Indiana artist circles. Goodwin briefly attended The Indiana Art School before moving to the Art Institute of Chicago to study painting. She soon discovered her love for sculpting and eventually worked as a student under the sculptor Lorado Taft while at Chicago. She also studied sculpture at the Art Student’s League in New York City with the sculptor Daniel Chester French. Goodwin eventually traveled and studied art around Europe for four and a half years and set up a studio in Paris with her sister. She died in Newcastle at the age of seventy-four. A year later, in 1930, the Henry County Historical Society planned to commission a memorial for their grounds dedicated to Frances Goodwin and modeled after a bird fountain she had created at the Newcastle Public Library.
Frances Goodwin’s first commission was for Education, a sculpture displayed in the Indiana building at the World’s Columbian Exposition in 1893 for which she earned an honorable mention. The statue later found its way into the Office of the Governor of Indiana. Goodwin’s other works include a marble statue of Schuyler Colfax in the senate gallery at the U.S. Capitol and a bronze memorial of Captain Everet Benjamin in New York. Her busts of Newcastle poet Benjamin S. Parker and Indianapolis rector Reverend James D. Stanley were on display both at the Historical Society of Henry County and at Herron School of Art in Indianapolis. She also sculpted many studies of baby hands, which were popular with the public. After living in Paris for a few years, she returned to the U.S. to compete for the commission of the Robert Dale Owen Memorial and opened a temporary studio in Indianapolis to create the clay mold of the future artwork. She returned to Paris to cast the final bronze bust.
Quoted from http://en.wikipedia.org/wiki/Robert_Dale_Owen_Memorial
The transformation of five traffic signal control boxes or “invisible canvases” around the Northeast Corridor is intended to promote pride and unite the community in the area. These boxes are collectively called The Big Picture Project, a public art initiative that uses the gateways of the community to share the stories of the neighborhood.
In the early 20th century, the Roberts Dairy Company was the most prominent among the dairy farms in the Village of Millersville. To commemorate Roberts Dairy, this traffic signal box has a collage of images of dairy milk bottles and the Roberts family home on three panels.
Quoted from http://us9.campaign-archive1.com/?u=fcf86f7c3f5754fd259da4f7c&id=d8dedccfe8&e=14c2ef4487
This mural was created by 100 Rolls-Royce employees, facilitated by Big Car Collaborative at the Rolls Royce corporate headquarters in Indianapolis. Painted in September 2018 but installed in 2019, the design (created by Big Car lead designer Andy Fry with Keith Barnett, Rolls-Royce’s in-house designer) is an abstracted Rolls-Royce jet engine, repeated, with shifts in the colors surrounding the center axis of each engine. The shifts in color are intended to evoke a sense of the circular motion of the engine. The mural was painted on 24 8′ h. x 4′ w. wooden panels and assembled on site.
Big Car Collaborative is an Indianapolis-based nonprofit art and design organization formed in 2004. Big Car utilizes tools of culture and creativity to build community and social cohesion — helping connect people as a way to boost quality of life.
The mural is a portrait of Frank R Beckwith (1904-65). He was an African American lawyer and civil rights activist. He was the first African American to run as a candidate for President of the United States in a major party primary. During his lifetime he became a successful attorney and civil rights activist.
The city of Avon, Indiana, is quickly being developed but there are still farm fields and wide open spaces. The artist of Rural Rhythm, Megan Jefferson, is attracted to painting those wide open spaces – particularly Midwest landscapes – because she grew up in a small farming community in Northwest Ohio. Skies there are big, colorful fields are everywhere, and the land is flat so you can see for miles. The first time she visited Avon, the site of the mural, she was reminded of the rural landscape of her hometown. To create this mural she drove the back roads, feeling nostalgic and took photos of her favorite beautiful vistas. This mural is inspired by one of those photographs and its goal is to acknowledge, preserve, and celebrate the rural beauty that still exists in the town (and in the artist’s heart).
Megan Jefferson is a painter and has been actively creating work since receiving her BFA from Miami University in 1998. She has exhibited extensively and sells her work to designers and individual patrons. She describes the process of her work in this way: “I let the process define the artwork and describe my working process as a dance and conversation. I place down some color, and as certain areas and shapes evolve I will “answer” those happenings with additive or subtractive methods. This dance continues until each painting feels right. The result is thoughtful, intuitive, spontaneous and reflective.” Most of Jefferson’s work is landscape painting.
Rural Rhythm was created through a partnership between Jiffy Lube of Indiana and the Arts Council of Indianapolis. The partnership is an opportunity to showcase local artists, beautify commercial corridors with original public art murals, and encourage viewers through positive images while expressing the goals of Jiffy Lube’s programming: Growing People Through Work.
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