Public Art > Detour

conceptual renderingconceptual rendering











Detour 2009
Joplin I-44 Welcome Center
Public Art Commission by the Missouri Department of Transportation (MoDot) Joplin, Missouri 
Acrylic Latex Mural, 500 plus recycled license plates, MDF 

Thematically, my exploration of ideas and concepts has led me to blend a few different themes.  I believe this combination and integration of themes creates a rich layered affect that visitors of all ages and backgrounds will find something of interest within the artwork.  Initially I was inspired by my findings of the digitally archived collection of area postcards at the Joplin Library.  I was intrigued by the many ways the art form of the postcard was used historically and still to this day in sharing one’s travels with distant friends.  I was interested in how the subject matter of many old postcards was colorfully and graphically rendered by hand given the lack of photographic technology at the time.  In many ways that art form, I contend made those subjects seem even more surreal and larger than life.  I am inspired to create this wall size postcard in a similar manner using color and a graphic quality.  Among the postcards in particular I was struck by a very specific type of postcard in which a towns name fills the entire postcard frame with images inserted within each letter of the name.  I discovered a postcard that employs this style with Joplin’s letters.  Even though I used “Joplin” for the structure of this mural and that the building is called the Joplin I-44 visitor’s center, I have incorporated a variety of imagery reaching beyond the specific area of Joplin.
Since rest stops and welcome centers are really a product of our country’s automobile culture—I was interested in representing that.  I recalled the road trip travel games that others and I played as kids and some still even as adults.  Specifically one game that can last over the course of many summer vacation road trips—namely, the license plate game.  The goal was to be the first person to spot license plates from all fifty states while on the road.  In this concept actual license plates will form the background veneer around the large image letters of Joplin.  I would hope to include all fifty states—possibly having more Missouri plates than the rest.  I can only imagine the look on kids’ faces when they walk through the doors and see the license plates.  In a very subtle way the plates represent the connectivity of our highways.  They also become an educational tool in understanding and identifying our 50 states through the names and distinctive images on each state’s plate.  For those visiting the area from other states they can appreciate the honoring of their home state on this wall will making a stop on the road.
Lastly, in terms of themes I worked to be fairly inclusive of a variety of people, places, and history representing the area of Joplin, Carthage, Neosho and other areas.  I worked within two more specific subject areas.  Most of the left half of the imagery works to infuse aspects of the local area that deal with history and places that have been created by and relate to famous individuals within this community.  The right half of the mural reflects the natural outdoor treasures of the area.  Both of these are to be explained further within this description.
The thematic imagery is completely inspired by and taken from the very stories, attractions and visitor offerings that are to be shared with travelers in the visitor’s center.  I believe the art piece will not only capture the attention of visitors but also inspire them out of curiosity to discover more about any of subjects in the piece once they depart the center.  They may decide to take a “detour” or to “take the scenic route”.  There is something for everyone from those interested in famous people in history, to civil war buffs, to those curious about local legends like the Spook light phenomenon, as well as those who love bird watching, canoeing, biking, hiking—the natural wonders of Southwest Missouri.  One example of the direct connection to the local community is the animals that I have only begun to subtlety incorporate into the work.  These specific animals (birds, lizards, fish, etc…) can be found in the area.  The specific animal types were found through researching the Neosho National Fish Hatchery and the Wildcat Wildlife Refuge.  The iconic amenity highway signs we see for things such as camping, lodging, biking are directly incorporated in the work to reflect the informative nature of the local roads and to emphasize that these things are available with in the community—the icons are both function and artful. Red lines and one blue line branch out across the “I” and “N” that appear to be tree branches birds are perched on but they are actually delineate the entire highway system of Missouri—I-44 is the blue line.  While connecting to the natural beauty of the Joplin Falls in the letter “N” the underside of the rock alludes directly to the blood, sweat and tears of the mining history that the area is known for.  I have also embedded the faces of familiar historic and creative individuals throughout the work including Thomas Hart Benton, Clyde Barrow, Dr. Janet Kavandi, Langston Hughes and Marlin Perkins.
It was nearly impossible to incorporate everything from the area realizing there are almost boundless possibilities.  My hope is for visitors to realize what the local area has to offer and is known for.  These are themes that the local community can be proud of and take ownership of this piece that represents their area.  I am using imagery that works thematically but also works in terms of composition, creating a good flow and rhythm throughout the wall—connecting together like pieces of a puzzle.  My hope is that I have stirred a melting pot of thematic ingredients to first engage the visitor, second make them stop a little longer than they usually would to look, thirdly to be curious enough about the artwork and the images to request more information, fourth to want to take a picture in front of the art to capture a moment on their road trip and lastly that they will take that “Detour”.

Thematically, my exploration of ideas and concepts has led me to blend a few different themes.  I believe this combination and integration of themes creates a rich layered affect that visitors of all ages and backgrounds will find something of interest within the artwork.  Initially I was inspired by my findings of the digitally archived collection of area postcards at the Joplin Library.  I was intrigued by the many ways the art form of the postcard was used historically and still to this day in sharing one’s travels with distant friends.  I was interested in how the subject matter of many old postcards was colorfully and graphically rendered by hand given the lack of photographic technology at the time.  In many ways that art form, I contend made those subjects seem even more surreal and larger than life.  I am inspired to create this wall size postcard in a similar manner using color and a graphic quality.  Among the postcards in particular I was struck by a very specific type of postcard in which a towns name fills the entire postcard frame with images inserted within each letter of the name.  I discovered a postcard that employs this style with Joplin’s letters.  Even though I used “Joplin” for the structure of this mural and that the building is called the Joplin I-44 visitor’s center, I have incorporated a variety of imagery reaching beyond the specific area of Joplin.
Since rest stops and welcome centers are really a product of our country’s automobile culture—I was interested in representing that.  I recalled the road trip travel games that others and I played as kids and some still even as adults.  Specifically one game that can last over the course of many summer vacation road trips—namely, the license plate game.  The goal was to be the first person to spot license plates from all fifty states while on the road.  In this concept actual license plates will form the background veneer around the large image letters of Joplin.  I would hope to include all fifty states—possibly having more Missouri plates than the rest.  I can only imagine the look on kids’ faces when they walk through the doors and see the license plates.  In a very subtle way the plates represent the connectivity of our highways.  They also become an educational tool in understanding and identifying our 50 states through the names and distinctive images on each state’s plate.  For those visiting the area from other states they can appreciate the honoring of their home state on this wall will making a stop on the road.
Lastly, in terms of themes I worked to be fairly inclusive of a variety of people, places, and history representing the area of Joplin, Carthage, Neosho and other areas.  I worked within two more specific subject areas.  Most of the left half of the imagery works to infuse aspects of the local area that deal with history and places that have been created by and relate to famous individuals within this community.  The right half of the mural reflects the natural outdoor treasures of the area.  Both of these are to be explained further within this description.
The thematic imagery is completely inspired by and taken from the very stories, attractions and visitor offerings that are to be shared with travelers in the visitor’s center.  I believe the art piece will not only capture the attention of visitors but also inspire them out of curiosity to discover more about any of subjects in the piece once they depart the center.  They may decide to take a “detour” or to “take the scenic route”.  There is something for everyone from those interested in famous people in history, to civil war buffs, to those curious about local legends like the Spook light phenomenon, as well as those who love bird watching, canoeing, biking, hiking—the natural wonders of Southwest Missouri.  One example of the direct connection to the local community is the animals that I have only begun to subtlety incorporate into the work.  These specific animals (birds, lizards, fish, etc…) can be found in the area.  The specific animal types were found through researching the Neosho National Fish Hatchery and the Wildcat Wildlife Refuge.  The iconic amenity highway signs we see for things such as camping, lodging, biking are directly incorporated in the work to reflect the informative nature of the local roads and to emphasize that these things are available with in the community—the icons are both function and artful. Red lines and one blue line branch out across the “I” and “N” that appear to be tree branches birds are perched on but they are actually delineate the entire highway system of Missouri—I-44 is the blue line.  While connecting to the natural beauty of the Joplin Falls in the letter “N” the underside of the rock alludes directly to the blood, sweat and tears of the mining history that the area is known for.  I have also embedded the faces of familiar historic and creative individuals throughout the work including Thomas Hart Benton, Clyde Barrow, Dr. Janet Kavandi, Langston Hughes and Marlin Perkins.
It was nearly impossible to incorporate everything from the area realizing there are almost boundless possibilities.  My hope is for visitors to realize what the local area has to offer and is known for.  These are themes that the local community can be proud of and take ownership of this piece that represents their area.  I am using imagery that works thematically but also works in terms of composition, creating a good flow and rhythm throughout the wall—connecting together like pieces of a puzzle.  My hope is that I have stirred a melting pot of thematic ingredients to first engage the visitor, second make them stop a little longer than they usually would to look, thirdly to be curious enough about the artwork and the images to request more information, fourth to want to take a picture in front of the art to capture a moment on their road trip and lastly that they will take that “Detour”.