Special Projects
Hope for the World Cure ©1998 Precita Eyes Muralists
Restoration ©2022 by: Original artists Susan Cervantes, Elba Rivera & Ellen Silva
Assisted by: Aureliano Rivera, Ernesto Paul, Jared K. Mar, Kerra Hendrickson
Special Thanks to: All the Community Participants and donors and Supervisor Rafael Mandelman, and Marta Ayala
Restoration ©2022 by: Original artists Susan Cervantes, Elba Rivera & Ellen Silva
Assisted by: Aureliano Rivera, Ernesto Paul, Jared K. Mar, Kerra Hendrickson
Special Thanks to: All the Community Participants and donors and Supervisor Rafael Mandelman, and Marta Ayala
Descriptions
The mural can be read from right to left beginning with an elaborate explosion of colors. This torrent of color represents the chaos created by the disease and yet the beauty in the artist’s life and the beauty she contributes to it. “I feel the importance of doing what’s significant to me,” she states, “thereby adding great beauty to life itself. I love life and the colors add to it” (Hazel Betsey).
To the right is a single palm tree. With a price tag of $13.5 million for the F- Street Market renovation from Valencia to Castro, the single tree representing the whole project. In the face of the dire need for more money to fund AIDS research and support for patients, this image serves to question the City’s priorities (Andy Arzate).
To the left of these images is a large representation of the AIDS virus itself (Clif Cox) above a figure holding the world urging us to “Be there for the World Cure” (Andy Arzate). Teardrops fall from the sky indicating the many tears that have been shed (José Escalante). The teardrops become larger and filled with medication until they ultimately splash into the cocktail glass of a bed-ridden patient below receiving an IV, in a potent symbol of the cocktail of medications taken daily by those infected (Jose Escalante and Clif Cox). Abstract representations of fluids weave in and out of the designs (John Micheal Stevinson). A moon and a star shine from above. (Mark Arseneau).
The tears at the top begin to diminish in size over a representation of the AIDS Quilt, in memory of the many who have lost their lives to this disease. The first square of the quilt, Marvin Feldman’s, is shown (Daniel Woods). Next to it is a memorial scene of one of the artist’ lover who died of AIDS, with a poem by the lover (Juan Carlos Oregon). The mural focuses here on memorial and recognition of the individual life. The community is healed when their voices are heard through ritualized celebrations of the lives of their loved ones and through the public mourning of their deaths. The next image, the tricycle with the milk carton, represents the healing that community awareness brings by evoking the Great Memorial Day Tricycle Race spearheaded by Charlotte Coleman owner of one of the first lesbian bars in the world” The Front” 1959 and “the Mint” 1969 until 1975, and a memorial to Harvey Milk who was surely one of the spectators (Andy Arzate).
A Figure who represents the frequent use of holistic methods of healing hovers above; the brilliant colors of the 7 chakras flow into the colors which constitute the rainbow flag (Daniel Woods). Just below and to the left, the “Alma Rota” Broken Spirit, a figure originally a sculpture by Manuel Martin, serves as a memorial to young people who have died of AIDS (Ruth Altman). The mural moves from dark to light from the depression of disease to the hope of life. Hope, in the figure of the volunteer representing all the volunteers that have stepped forward on their own, giving their love freely to those in need. The image serves as a special thank you to all the volunteers (Mark Arseneau). The flowers, cala lilies, catch the beauty of life and the peacefulness of death. The theme of healing is made explicit in the natural images of animals with people and trees together with the artists words inscribed in the tree’s branches. “Medicine heals my body, animals heal my heart and soul. Here the connection to the earth and our animal natures is a source of joy and rejuvenation (Pali Boucher).” Above the tree the AIDS candle is painted on a vent emerging from the building (Mark Arseneau). On one side of the vent “Castro” is painted in one direction of the on- coming traffic, resembling the marquis of the Castro Theatre (John Michael Stevenson). Behind the candle is another memorial quilt over which the pink triangle of Gay Pride is superimposed, and image of a rainbow butterfly-representing rebirth Susan Kelk Cervantes) Following these images, two dancing figures, female and male, transparently blend together “as one” reminding us that we are all both (Richard Purcell). The rainbow flag is muted as it hangs over the active- AIDS end of the wall, but it turns into a vibrant banner of color as it waves over the new life that springs up on this left side of the wall. The dancers and the flag carrier both remind us that the muted and the vibrant are part of the journey of Life (Richard Purcell and Robert Raeburn).
A tribute to Dykes on Bikes roars below and to the left of the dancing figures. The artist explains her contribution in the following passage. “Being a member of the women’s motorcycle contingent, my name was pulled out of a hat of one hundred to be the pace rider in 1992! It was a thrill of a lifetime and I was so full of Gay Pride to lead dykes on bikes at the Gay Pride 92 Parade. People cheered as we rode down the road, it was as if everyone was cheering for me. I was so proud and full of pride about who I am—a lesbian with HIV and my negative lover on the back of my bike waving the leather flag” (Dorothy Bartolomucci). The restored mural changed the lead biker to a memorial portrait of Soni Wolf, Founder of Dykes on Bikes who passed away in 2021.
The final images are “Lollipop love trees, fields of love and mountains to climb.” They are images, which validate the struggle, the recognition of the growth of love and hope and flight (Karen Tripp). The end figure is a genderless being with an enlarged heart for a head that is “seeing” love, receiving a seed of compassion in its right hand and offering a star of hope from the left hand while the heart blossoms into a gigantic and radiant flower that flames with passion while sprouting antennae of both male and female symbols of light (Tippett).
The realization for this mural is a “dream from the heart come true”. The artist, Clif Cox, states, “From the beginning of my HIV diagnosis to full blown AIDS, I have had a dream from my heart. The dream is like a full-length movie that you can enjoy fully, but feels sad when it ends. Hopefully, when I die or am cured of the AIDS virus, people will see some of the scenes from my AIDS existence in this history of the recorded. A mural can translate, in non- threatening ways, the reality of existence and our hopes. Art is healing, but also a spiritual experience. Please enjoy viewing this mural; you may see your dreams in Technicolor and enjoy your full hearts of concern and kindness.”
On the top left hand corner the word PRIDE was added during the 2022 mural restoration. This space used to be space for the old Bagdad Café signage. The PRIDE was designed by one of the original mural artists Ellen Silva and painted by Ernesto Paul.
To the right is a single palm tree. With a price tag of $13.5 million for the F- Street Market renovation from Valencia to Castro, the single tree representing the whole project. In the face of the dire need for more money to fund AIDS research and support for patients, this image serves to question the City’s priorities (Andy Arzate).
To the left of these images is a large representation of the AIDS virus itself (Clif Cox) above a figure holding the world urging us to “Be there for the World Cure” (Andy Arzate). Teardrops fall from the sky indicating the many tears that have been shed (José Escalante). The teardrops become larger and filled with medication until they ultimately splash into the cocktail glass of a bed-ridden patient below receiving an IV, in a potent symbol of the cocktail of medications taken daily by those infected (Jose Escalante and Clif Cox). Abstract representations of fluids weave in and out of the designs (John Micheal Stevinson). A moon and a star shine from above. (Mark Arseneau).
The tears at the top begin to diminish in size over a representation of the AIDS Quilt, in memory of the many who have lost their lives to this disease. The first square of the quilt, Marvin Feldman’s, is shown (Daniel Woods). Next to it is a memorial scene of one of the artist’ lover who died of AIDS, with a poem by the lover (Juan Carlos Oregon). The mural focuses here on memorial and recognition of the individual life. The community is healed when their voices are heard through ritualized celebrations of the lives of their loved ones and through the public mourning of their deaths. The next image, the tricycle with the milk carton, represents the healing that community awareness brings by evoking the Great Memorial Day Tricycle Race spearheaded by Charlotte Coleman owner of one of the first lesbian bars in the world” The Front” 1959 and “the Mint” 1969 until 1975, and a memorial to Harvey Milk who was surely one of the spectators (Andy Arzate).
A Figure who represents the frequent use of holistic methods of healing hovers above; the brilliant colors of the 7 chakras flow into the colors which constitute the rainbow flag (Daniel Woods). Just below and to the left, the “Alma Rota” Broken Spirit, a figure originally a sculpture by Manuel Martin, serves as a memorial to young people who have died of AIDS (Ruth Altman). The mural moves from dark to light from the depression of disease to the hope of life. Hope, in the figure of the volunteer representing all the volunteers that have stepped forward on their own, giving their love freely to those in need. The image serves as a special thank you to all the volunteers (Mark Arseneau). The flowers, cala lilies, catch the beauty of life and the peacefulness of death. The theme of healing is made explicit in the natural images of animals with people and trees together with the artists words inscribed in the tree’s branches. “Medicine heals my body, animals heal my heart and soul. Here the connection to the earth and our animal natures is a source of joy and rejuvenation (Pali Boucher).” Above the tree the AIDS candle is painted on a vent emerging from the building (Mark Arseneau). On one side of the vent “Castro” is painted in one direction of the on- coming traffic, resembling the marquis of the Castro Theatre (John Michael Stevenson). Behind the candle is another memorial quilt over which the pink triangle of Gay Pride is superimposed, and image of a rainbow butterfly-representing rebirth Susan Kelk Cervantes) Following these images, two dancing figures, female and male, transparently blend together “as one” reminding us that we are all both (Richard Purcell). The rainbow flag is muted as it hangs over the active- AIDS end of the wall, but it turns into a vibrant banner of color as it waves over the new life that springs up on this left side of the wall. The dancers and the flag carrier both remind us that the muted and the vibrant are part of the journey of Life (Richard Purcell and Robert Raeburn).
A tribute to Dykes on Bikes roars below and to the left of the dancing figures. The artist explains her contribution in the following passage. “Being a member of the women’s motorcycle contingent, my name was pulled out of a hat of one hundred to be the pace rider in 1992! It was a thrill of a lifetime and I was so full of Gay Pride to lead dykes on bikes at the Gay Pride 92 Parade. People cheered as we rode down the road, it was as if everyone was cheering for me. I was so proud and full of pride about who I am—a lesbian with HIV and my negative lover on the back of my bike waving the leather flag” (Dorothy Bartolomucci). The restored mural changed the lead biker to a memorial portrait of Soni Wolf, Founder of Dykes on Bikes who passed away in 2021.
The final images are “Lollipop love trees, fields of love and mountains to climb.” They are images, which validate the struggle, the recognition of the growth of love and hope and flight (Karen Tripp). The end figure is a genderless being with an enlarged heart for a head that is “seeing” love, receiving a seed of compassion in its right hand and offering a star of hope from the left hand while the heart blossoms into a gigantic and radiant flower that flames with passion while sprouting antennae of both male and female symbols of light (Tippett).
The realization for this mural is a “dream from the heart come true”. The artist, Clif Cox, states, “From the beginning of my HIV diagnosis to full blown AIDS, I have had a dream from my heart. The dream is like a full-length movie that you can enjoy fully, but feels sad when it ends. Hopefully, when I die or am cured of the AIDS virus, people will see some of the scenes from my AIDS existence in this history of the recorded. A mural can translate, in non- threatening ways, the reality of existence and our hopes. Art is healing, but also a spiritual experience. Please enjoy viewing this mural; you may see your dreams in Technicolor and enjoy your full hearts of concern and kindness.”
On the top left hand corner the word PRIDE was added during the 2022 mural restoration. This space used to be space for the old Bagdad Café signage. The PRIDE was designed by one of the original mural artists Ellen Silva and painted by Ernesto Paul.
Community Spirit
©2021 Precita Eyes Muralists
Directed by: Ellen Silva in collaboration with 20 faculty & staff members Marjorie H. Tobias Elementary School, Daly City
Size: 18’6” wide x 8’ high acrylic on cinder block
Location: Tobias Elementary School, 725 Price Street, Daly City, CA 94014
©2021 Precita Eyes Muralists
Directed by: Ellen Silva in collaboration with 20 faculty & staff members Marjorie H. Tobias Elementary School, Daly City
Size: 18’6” wide x 8’ high acrylic on cinder block
Location: Tobias Elementary School, 725 Price Street, Daly City, CA 94014
Description
From the Tobias Teachers & Staff:
Cristina Almeida Our hands and hearts come together in strength, gratitude and hope.
Casey Baker Together, we grow and flourish. Together, we reach toward greatness
Faye Baltazar The outer hands symbolize the teachers/staff who help mold and shape the student’s futures. The Students are at the center of the community at the heart. Through togetherness and unity, we are able to shape the younger generations.
Brooke Clark My idea was to have different skin tones of hands putting together a puzzle, representing that we all have different skill sets and talents and that together we can solve problems and make things happen.
Jeanne Conroy MHT, School, Community, support each other
Miranda Correll "Alone we can do so little, together we can do so much"
Katherine Harsono Stronger Together Unity in Diversity Celebrate the strength of togetherness in a world of Diversity and Kindness
Jennifer Kwon People from all over the world come "together" to form a whole family.
Kim Lee My message is unity because we only have one earth and all our differences should be embraced.
Betty Lew Marjorie H. Tobias Elementary encompasses a school community filled with diversity and love- working together in unison to strive for unity and commitment to peace and friendship.
Cathy Macay "This is a unity symbol, a symbol of hope (rainbows). It denotes togetherness, nature, and life skills - which were 3 of the themes we voted on. Also, it (sideways eight) is known as a lemniscate - which is mathematical''.
Molly McDermott Peace, love, strength, unity, caring, love, learning, forgiveness, hope, kindness, integrity, honor
Victoria Ngo Togetherness to me means our community-- which is diverse. Now more than ever, inclusivity is important.
Michael Smith Ants focus of their community first, think ahead, and don’t give up.
Melanie Sowyrda Although we can not physically touch, we do our upmost best to support our families, students, and colleagues. We draw our strength from the energy of our earth and from one another.
Anoushka Takla Together we endure and support our collective growth. This goes with the picture of the Coastal Redwood grove.
Ashley Tomlinson We stand together. We are stronger together.
Cristina Almeida Our hands and hearts come together in strength, gratitude and hope.
Casey Baker Together, we grow and flourish. Together, we reach toward greatness
Faye Baltazar The outer hands symbolize the teachers/staff who help mold and shape the student’s futures. The Students are at the center of the community at the heart. Through togetherness and unity, we are able to shape the younger generations.
Brooke Clark My idea was to have different skin tones of hands putting together a puzzle, representing that we all have different skill sets and talents and that together we can solve problems and make things happen.
Jeanne Conroy MHT, School, Community, support each other
Miranda Correll "Alone we can do so little, together we can do so much"
Katherine Harsono Stronger Together Unity in Diversity Celebrate the strength of togetherness in a world of Diversity and Kindness
Jennifer Kwon People from all over the world come "together" to form a whole family.
Kim Lee My message is unity because we only have one earth and all our differences should be embraced.
Betty Lew Marjorie H. Tobias Elementary encompasses a school community filled with diversity and love- working together in unison to strive for unity and commitment to peace and friendship.
Cathy Macay "This is a unity symbol, a symbol of hope (rainbows). It denotes togetherness, nature, and life skills - which were 3 of the themes we voted on. Also, it (sideways eight) is known as a lemniscate - which is mathematical''.
Molly McDermott Peace, love, strength, unity, caring, love, learning, forgiveness, hope, kindness, integrity, honor
Victoria Ngo Togetherness to me means our community-- which is diverse. Now more than ever, inclusivity is important.
Michael Smith Ants focus of their community first, think ahead, and don’t give up.
Melanie Sowyrda Although we can not physically touch, we do our upmost best to support our families, students, and colleagues. We draw our strength from the energy of our earth and from one another.
Anoushka Takla Together we endure and support our collective growth. This goes with the picture of the Coastal Redwood grove.
Ashley Tomlinson We stand together. We are stronger together.
"Forever in Bloom" ©2019 Ellen Silva
Size: 10' x 114', acrylic on cement
Design/Painting: Ellen Silva
Location: CPMC at Davies Campus, Noe and Castro Streets, San Francisco
Size: 10' x 114', acrylic on cement
Design/Painting: Ellen Silva
Location: CPMC at Davies Campus, Noe and Castro Streets, San Francisco
Description
“Forever in Bloom” is viewed from the common space/waiting room for residents, staff and visitors on 7th floor, providing an uplifting and restful feeling.
It is a peaceful scene, flowing from the Eastern Sierras (left), to the Western Coastal cliffs (right), filled with natural images.
In the foreground, large colorful flowers (found on West Coast) are growing, Forever in Bloom.
L to R: Morning Glory, Black-Eyed Susan, Blue-Eyed Grass, Trumpetvine, Sugar Bowl, Poppy, Cosmos, Iris, Sticky Monkeyflower, Baby Blue Eye, Cattail and Beach Grass.
The flowers are being visited by birds and insects.
Left: Red-tail hawk over the Sierras
Center: Monarch butterfly, Annas hummingbird, dragonfly and Parrots of Telegraph Hill
Right: Pelican and Sea Gulls near the Ocean
It is a peaceful scene, flowing from the Eastern Sierras (left), to the Western Coastal cliffs (right), filled with natural images.
In the foreground, large colorful flowers (found on West Coast) are growing, Forever in Bloom.
L to R: Morning Glory, Black-Eyed Susan, Blue-Eyed Grass, Trumpetvine, Sugar Bowl, Poppy, Cosmos, Iris, Sticky Monkeyflower, Baby Blue Eye, Cattail and Beach Grass.
The flowers are being visited by birds and insects.
Left: Red-tail hawk over the Sierras
Center: Monarch butterfly, Annas hummingbird, dragonfly and Parrots of Telegraph Hill
Right: Pelican and Sea Gulls near the Ocean
"Rescue, Rehab, Release" ©2019 Ellen Silva
Size: 120' x 9', Acrylic on cement
Design/Painting: Ellen Silva with 40 volunteers
Location: Marine Mammal Center, Fort Cronkite, Sausalito
Size: 120' x 9', Acrylic on cement
Design/Painting: Ellen Silva with 40 volunteers
Location: Marine Mammal Center, Fort Cronkite, Sausalito
Description
“Rescue, Rehab, Release”
Located in the upper parking lot, the mural design tells the story of the Marine Mammal Center’s amazing work rescuing, rehabilitating and releasing sea lions and seals.
Beginning on the left, at beachside, the viewer sees sea lions with entanglements and in other unhealthy conditions. They are brought by workers in the rescue truck to the MMC where they are x-rayed, examined, fed, operated on and brought back to better health. Then they are brought back to the beach and happily released back to their native environment into the ocean.
Located in the upper parking lot, the mural design tells the story of the Marine Mammal Center’s amazing work rescuing, rehabilitating and releasing sea lions and seals.
Beginning on the left, at beachside, the viewer sees sea lions with entanglements and in other unhealthy conditions. They are brought by workers in the rescue truck to the MMC where they are x-rayed, examined, fed, operated on and brought back to better health. Then they are brought back to the beach and happily released back to their native environment into the ocean.
California Natives ©2014 Ellen Silva
Size: 9.5' x 8.5', Acrylic on sheetrock
Design Painting: Ellen Silva
Location: Mid-Peninsula Housing, Community Room, San Mateo
Size: 9.5' x 8.5', Acrylic on sheetrock
Design Painting: Ellen Silva
Location: Mid-Peninsula Housing, Community Room, San Mateo
"Orinda Historical Landmarks" ©Ellen Silva 2012
Size: 23' x 6'
Re-design and painting by: Ellen Silva
Location: Parks and Recreation Dept., City of Orinda, Orinda, CA
Size: 23' x 6'
Re-design and painting by: Ellen Silva
Location: Parks and Recreation Dept., City of Orinda, Orinda, CA
Narrative
Stopped by the park early today on my out to see the mural. Oh my, what brilliance! Fantastic effort! And the kindergym wall is the perfect location! Just great, all around. Please thank all involved, especially Ellen.
— Charles Vollmar, Former Board Member, Orinda Historical Society History Tour Docent
"Wowie, zowie, Ellen, I couldn't believe it—it looks so great on the wall! I went see the mural before the City Council meeting, and it absolutely looks fantastic. Congratulations, all I'm hearing is good things about it! I had to call you and tell you how wonderful it looks!
— Lucy Hupp Williams, President, Orinda Historical Society
I did stop by and saw the mural and it is beautiful! I hope Orinda does a ‘christening’ ceremony. Ellen did a beautiful job on this piece and I am sure everyone is so pleased….I loved the new additions! Great job by all!
Many thanks,
— Marty de Laveaga Stewart
The mural is up as of this afternoon! We were able to check it out and it looks great. The location is terrific and the mural is now easily the visual highlight of the park. It's wonderful to see this come to fruition!
— Susan Garell, President, Orinda Arts Council
I saw members of the public already drawn to the vivid imagery, studying the mural! Looks fantastic there!
— Susan Mautner, VP of Public Art & Community Relations, Orinda Arts Council
Ellen, I am just thrilled with the new Orinda Historical Mural recently hung on the Kinder Gym wall in the Orinda Community Center Park. It is a beautiful reproduction of the original mural hung at the BART Station, only updated and even better! You are to be commended for your excellent efforts in helping to visually bring Orinda History to all of us in Orinda and beyond!
— Kay Norman, member of Orinda Historic Landmarks Committee
— Charles Vollmar, Former Board Member, Orinda Historical Society History Tour Docent
"Wowie, zowie, Ellen, I couldn't believe it—it looks so great on the wall! I went see the mural before the City Council meeting, and it absolutely looks fantastic. Congratulations, all I'm hearing is good things about it! I had to call you and tell you how wonderful it looks!
— Lucy Hupp Williams, President, Orinda Historical Society
I did stop by and saw the mural and it is beautiful! I hope Orinda does a ‘christening’ ceremony. Ellen did a beautiful job on this piece and I am sure everyone is so pleased….I loved the new additions! Great job by all!
Many thanks,
— Marty de Laveaga Stewart
The mural is up as of this afternoon! We were able to check it out and it looks great. The location is terrific and the mural is now easily the visual highlight of the park. It's wonderful to see this come to fruition!
— Susan Garell, President, Orinda Arts Council
I saw members of the public already drawn to the vivid imagery, studying the mural! Looks fantastic there!
— Susan Mautner, VP of Public Art & Community Relations, Orinda Arts Council
Ellen, I am just thrilled with the new Orinda Historical Mural recently hung on the Kinder Gym wall in the Orinda Community Center Park. It is a beautiful reproduction of the original mural hung at the BART Station, only updated and even better! You are to be commended for your excellent efforts in helping to visually bring Orinda History to all of us in Orinda and beyond!
— Kay Norman, member of Orinda Historic Landmarks Committee
"Welcome to Our Half Moon Bay Community" © 2010 Ellen Silva
Size: 8' x 4', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Half Moon Bay Chamber of Commerce, Main Street, Half Moon Bay
Size: 8' x 4', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Half Moon Bay Chamber of Commerce, Main Street, Half Moon Bay
"Compassion, Not Judgement" ©2008 Ellen Silva
Size: 7.5' x 32', acrylic on cement
Design/Painting: Ellen Silva
Location: St. Francis Center, Redwood City, CA
Size: 7.5' x 32', acrylic on cement
Design/Painting: Ellen Silva
Location: St. Francis Center, Redwood City, CA
Dante's Inferno ©2005 Ellen Silva/Susan Cervantes
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Dante's Purgatorio ©2006 Ellen Silva/Susan Cervantes
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Dante's Paradiso ©2006 Ellen Silva/Susan Cervantes
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Size: 12' x 30' acrylic on sheetrock
Design/Painting by: Susan Cervantes/Ellen Silva
Location: Dante Building, St/ Mary's College, Moraga, CA
Original Installation:
"Bella Luna" ©2005 Ellen Silva
Size: 4' x 8', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Spanishtown (2005 Installation), NEW ALAS, 636 Purissima Street, Half Moon Bay
Size: 4' x 8', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Spanishtown (2005 Installation), NEW ALAS, 636 Purissima Street, Half Moon Bay
New Installation:
"Mexican Vacation" ©2005 Ellen Silva
Size: 6' x 8', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Tres Amigos Taqueria (originally in Half Moon Bay, CA)
Size: 6' x 8', acrylic on MDO board
Design/Painting: Ellen Silva
Location: Tres Amigos Taqueria (originally in Half Moon Bay, CA)
“Underwater Scene” ©2004 Ellen Silva
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
“Mirror Lake” ©2004 Ellen Silva
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
“Jungle Scene” ©2004 Ellen Silva
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
Size: 8' x 4', acrylic on sheetrock
Design and painting by: Ellen Silva
Location: Dentist Offices, Berkeley, CA
"Mediterranean Dream" ©2004 Ellen Silva
Materials: Acrylic on cement
Design/Painting: Ellen Silva
Location: CPMC at California and Cherry, Women's Health lightwell
Materials: Acrylic on cement
Design/Painting: Ellen Silva
Location: CPMC at California and Cherry, Women's Health lightwell
Daughters of Charity-Seton Hospital ©2002 Ellen Silva
Size: 52' x 12'
Date: June 2002
Location: Client: Seton Medical Center, Daly City, CA
Size: 52' x 12'
Date: June 2002
Location: Client: Seton Medical Center, Daly City, CA
Description
The Story...
In stunning colors, a mural depicting the history of the community-care activities of the Daughters of Charity sweeps across the west wall of Seton's cafeteria-dining room for 52 feet at a height of 12 feet.
The idea of the Heritage Wall came from the Seton Health Services Foundation, and a committee composed of Sister William Eileen Dunn, D.C., Sister Marjory Ann Baez, D.C., Bernadette Smith, and Frank Malifrando.
The mural was designed by Ellen Silva an independent artist hired by Precita Eyes Mural Arts Center.
After the design was completed, Ellen and her staff transferred an outline drawing of the mural on to the dining-room wall. Seton associates were invited to a 2 hour "paint-In" to fill in the colors. They came by the dozens, took up brushes dipped in bold pigments, and, guided by a small rendering of the finished design, brought to life the persons and events portrayed.
Ellen completed the mural-and corrected not-quite-even lines or borders applied by the enthusiastic, but not always accurate, Seton volunteers who, even as they painted, became part of the ongoing history portrayed in the mural.
The panorama left to right:
1633 - St. Vincent de Paul and Sister Louise de Marillac founded the Daughters of Charity in Paris, France
1809 - Saint Anne Seton founded the Daughters of Charity on the East Coast of North America
1810 - Daughters of Charity landed in San Francisco
1893 - Mary's Help Hospital founded in 1893 in San Francisco
1912- First graduating class of Mary's Help Hospital School of Nursing
1913 - First Free Clinic opened in San Francisco at Mary's Help Hospital
1965 - Mary's Help Hospital built in Daly City
1983 - Seton Medical Center Built in Daly City
June 2002 - Celebrating 150 Years in California
Current Day Activities shown are: Marie Mahony, R.N., who worked at Seton for 62 Years, teaching a class; doctors looking at X-Ray; Seton Medical Hospital; Sister Carmen Ptacnik, D.C., comforting a patient.
In stunning colors, a mural depicting the history of the community-care activities of the Daughters of Charity sweeps across the west wall of Seton's cafeteria-dining room for 52 feet at a height of 12 feet.
The idea of the Heritage Wall came from the Seton Health Services Foundation, and a committee composed of Sister William Eileen Dunn, D.C., Sister Marjory Ann Baez, D.C., Bernadette Smith, and Frank Malifrando.
The mural was designed by Ellen Silva an independent artist hired by Precita Eyes Mural Arts Center.
After the design was completed, Ellen and her staff transferred an outline drawing of the mural on to the dining-room wall. Seton associates were invited to a 2 hour "paint-In" to fill in the colors. They came by the dozens, took up brushes dipped in bold pigments, and, guided by a small rendering of the finished design, brought to life the persons and events portrayed.
Ellen completed the mural-and corrected not-quite-even lines or borders applied by the enthusiastic, but not always accurate, Seton volunteers who, even as they painted, became part of the ongoing history portrayed in the mural.
The panorama left to right:
1633 - St. Vincent de Paul and Sister Louise de Marillac founded the Daughters of Charity in Paris, France
1809 - Saint Anne Seton founded the Daughters of Charity on the East Coast of North America
1810 - Daughters of Charity landed in San Francisco
1893 - Mary's Help Hospital founded in 1893 in San Francisco
1912- First graduating class of Mary's Help Hospital School of Nursing
1913 - First Free Clinic opened in San Francisco at Mary's Help Hospital
1965 - Mary's Help Hospital built in Daly City
1983 - Seton Medical Center Built in Daly City
June 2002 - Celebrating 150 Years in California
Current Day Activities shown are: Marie Mahony, R.N., who worked at Seton for 62 Years, teaching a class; doctors looking at X-Ray; Seton Medical Hospital; Sister Carmen Ptacnik, D.C., comforting a patient.