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| The Scaffolding at Opa |
I'll start by saying that I couldn't ask for a better site - on the riverfront in Wilmington just a few blocks from the historic district - or a better blank canvas - a 25' by 50' white wall. The view from the floor to ceiling windows couldn't be beat - the Cape fear river below, the port city marina full of sailboats and yachts to the right. Not too shabby. I felt fortunate for the opportunity as always.
The space to be transformed had previously been home to a tequila and comida cantina, with bold shades of paint on the walls, skulls, etc. Now all was painted white. It's nice to start with a blank palette.
I've worked for many years with this particular client and have the utmost respect for his unerring artistic vision Over the prior months, he shared his creative ideas, inspirational images, and provided artistic direction which helped me to develop a design narrative. After providing a number of draft mock-ups, we settled on a design based on Greek mythology inspired by the art found on ancient pottery and frescoes. The color palette would be classic - a deep greek blue, a terra cotta red-orange, and gold.
When I first saw the wall that I would paint during the first phase of this project, I might have gasped. It was so very big. I wondered out loud how I would get up to the top? I discussed options with the GM. It may have been my imagination, but he seemed to question my ability to safely maneuver a motorized scissor lift around the newly installed and quite expensive marble encased hostess stand and booths. I'm not sure I can blame him after I mentioned I'd have to be careful not to "bump into things". The fact that I have used lifts on most of my recent jobs had apparently not been conveyed
The GM decided scaffolding would be the safest choice. Scaffolding is almost never my top choice. It is rarely at the appropriate level, not easily adjusted, requires a lot of climbing and a comfort with heights, and there are big metal crossbars in the way. I have learned over the years, if you are not able to easily maneuver your platform, you will find yourself holding your arm at less than ideal angles, craning your next or reaching which all ends with a sore neck, strained muscles, and a bad back.
All that being said, it didn't seem like a motorized lift could have reached all of the areas above the stairway and be maneuvered around all of the obstacles. I left Wilmington to return weeks later to do the work.
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| The View from the Top |
After a last minute rescheduling due to a complicated choreography involving electricians, plumbers, tile artists, etc., I walked into the site and beheld the scaffolding. It was certainly a feat of engineering, stable and sturdy. However, I noticed right away, there were areas I couldn't reach. I would eventually need platforms moved and the use of ladders as well.
It was time to start sketching out the basic design. I don't typically use a projector, Meta Quest headgear, or other tools to transfer the image onto the surface. I use my inherent sense of scale and proportion on smaller murals and a basic grid system on larger murals, but part of this process involves stepping back frequently from the murals to get a sense of whether everything is properly proportioned and coming together. It's critical.
With this project, stepping back for a view of the whole was physically difficult and time consuming, To "step back" required climbing down ladders from 25 feet up. Aside form that, I had to bring all of my paints and supplies up ladders from one level to the next. There were also poles and platforms in the way that I had to work around.
Let me tell you, the first, second, and third time I climbed up that 25 ladder to the top level, I was terrified - hanging on for dear life, moving as slowly as a snail. By the end of the week I was scrambling up and down like a trapeze artist - a comfort with danger that comes from familiarity and repetition. I had to keep reminding myself not to become complacent.
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| The View of the Marina from the Scaffolding |
Every once in a while I'd step outside to watch the sun sparkling on the water, to hear the water lapping against the boat hulls, and the sound of seagulls to recharge my batteries. Lunch was usually a can of tuna salad on crackers ate rapidly sitting on the top level of my scaffolding overlooking the marina, swinging my legs in time to the beat in my earbuds. . From the large windows, I watched storms clouds approaching, building and darkening the sky.
Meanwhile below me the contractors ran around like ants, installing light fixtures, spreading grout, cutting tile, sweeping debris, while the GM kept a careful eye on all, arms crossed firmly, serious expression. I began by chalking out a basic grid with chalk water soluble marking crayon, climbing up and down and all around to access all sections of the wall. Then I sketched out the basic shapes using an image on my iPad for reference.
Frugality and good time management are essential when working out of town. I work long hours to cut down on travel expenses and the costs of accommodations, meals, etc. Also I'd always much rather sleep in my own bed, so I do my best to limit the number of nights I'm away. After many hours of scrambling around the scaffolding, I made my way to a nearby hotel to check in. That night, I dropped off to sleep quickly in exhaustion. only to wake in the pitch dark in the middle of the night feeling like I was trapped in a cage with metal bars all around me. My mind was still apparently imagining the scaffolding bars surrounding me.
The next morning, feeling decently rested, I couldn't wait to get back to work. Each day I painted, particularly on the exterior mural where I was surrounded by apartment buildings with many, many windows overlooking the site, I was quite aware of the onlookers and spectators interested in my work. It took me years to become comfortable with painting in front of an audience,
It's always this way, but on a large scale project like this, it's all the more intimidating and nerve-racking when I paint a huge face of a a god, climb down two sets of ladders, cross the floor, turn around and find that the nose is too big, or the eyes are slightly crooked and need to be corrected. I'm certainly not perfect, and I do make mistakes. It's difficult having the mistakes seen by others before I have time to correct them. I have learned to put in my earbuds, turn up the volume, and tune out the outside world.
After painting the upper area of the wall, I had to ask the GM and a couple of helpers to move the entire top platform down, so I could reach another area. This was not an easy endeavor and scary for me to watch.
To make a long story short, I did finish the mural in five and a half days. When I stand back and look at the finished mural...there are three things I'm thinking about...I'm so grateful that I was given this opportunity, I hope the patrons of the restaurant will derive pleasure from seeing it, and I hope my client is pleased. I've listed the pros and cons of using a stationary scaffolding on a mural job below. You can watch the time lapse of the project here. Follow along with future projects on my Instagram at #designsbyarianne.
Downsides of scaffolding for mural work:
- Difficult to reposition once installed
- Crossbars and platforms are tricky to paint around and prevent full viewing of the mural before removal
- Requires physical exertion and stamina for climbing
- Costly to install but possibly less than scissor lift rental
- Not for those with fear of heights
- Inability to precisely shift your level to avoid muscle fatigue and strain
- Necessitates carrying all supplies including cans of paint up ladders to levels
Upsides to using scaffolding for a mural job:
- Sturdy (if properly installed)
- Does not require moving ladders and other equipment if levels are properly spaced (which mine were not)
- No risk of running motorized equipment into walls, light fixtures, etc and causing costly repairs
- May be less costly than the rental of motorized equipment
In conclusion, I would much rather use a motorized lift any day of the week than a scaffolding.
You can see my mural work in person and enjoy the delicious cuisine and top-notch hospitality of this new restaurant by Giorgio Bakatsias when Opa opens in October.
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| The Finished Mural |
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Approaching the Blank Canvas, Real Talk on Fear, Inspiration and Not Giving Up in Art and Life. It’s full of true tales and tips from my 20+ years of making art for a living. It’s available on Amazon Books and you can also find the link to it and my other books on my DesignsbyArianne website.