Bellingham Arts Commission

The Bellingham Arts Commission conducted a comprehensive review of multiple public art proposals during their April 1st meeting, focusing primarily on three downtown activation and beautification grant projects managed by Paper Whale nonprofit. The meeting demonstrated the Commission's advisory role in balancing artistic vision with practical considerations like traffic safety, maintenance, and community sensitivity. The most significant development involved the Lakeway Drive underpass mural, where commissioners raised concerns about religious symbolism in the design and requested revisions before final approval. The proposed design by artists Jamie Molina and Pedro Barrios featured what commissioners perceived as a prominent cross-like element that could appear exclusionary, prompting a request to modify the central "T" formation while maintaining the overall Whatcom theme. Commissioners also reviewed the Railroad Avenue garage mural by 2024 Noisy Waters People's Choice winner Nora Brun, approving the hyper-realistic peony flower concept with a minor revision to darken the white elements at ground level to reduce maintenance concerns. The Commission demonstrated practical thinking about longevity and upkeep of public art installations. The Setting Sun Alley activation project received enthusiastic support for its comprehensive approach to transforming the alley between the Pickford Cinema and Spark Museum into an arts destination. The ambitious project includes light boxes by Nikki McClure, mounted panels by Stevie Xiao, metal mesh installations, and connections to the annual Mural Festival. Commissioners appreciated the collaborative approach with existing businesses and the phased implementation timeline through August. The Commission also addressed the Lettered Streets neighborhood signs, providing feedback on typography and readability while emphasizing their advisory role rather than requiring repeated revisions. The nocturnal lanterns project for the Whatcom Museum received approval, with commissioners appreciating the sophisticated use of dichroic film and stainless steel to create dynamic day/night lighting effects featuring Pacific Northwest nocturnal animals.

**Lakeway Drive Underpass Mural:** No vote taken; staff directed to return with revised design addressing cross-like symbolism concerns and clarifying use of indigenous language elements. Artists to modify central "T" formation and confirm approach to Whatcom/Lummi language incorporation. **Railroad Avenue Garage Mural:** Approved with minor revision (unanimous vote). Staff recommendation aligned with Commission decision. Modification requested to darken white flower elements at ground level for maintenance purposes. Final design to maintain hyper-realistic peony style by artist Nora Brun. **Setting Sun Alley Activation:** No formal vote recorded; positive reception for concept with request for design updates at June meeting. Project involves multiple components including Nikki McClure light boxes, Stevie Xiao panels, and metal mesh installations. Timeline extends through August with phased implementation. **Lettered Streets Neighborhood Signs:** Approved with recommendations (unanimous vote). Commission encouraged neighborhood to incorporate feedback on readability and typography while respecting budget constraints. Emphasized advisory nature of Commission role. **Nocturnal Lanterns Project:** Approved concept (unanimous vote). Heather's proposal for dichroic film lanterns on Whatcom Museum building received full support. Project features Pacific Northwest nocturnal animals with sophisticated day/night lighting effects.

**Eric, on sign design principles:** "When you look at signage, like say if you're imagining you're driving on I-5 and you're looking at signs, it's like same size, same color, same positioning. That assigned sensibility is that like it's not like size 12 font, size 72 font, size 24 font—it would be more consistency between those." **Patricia, on Commission's role:** "Just remember that Arts Commission is an advisory body. You don't have to keep coming back to the Arts Commission until the Arts Commission satisfied. Give your advice. You don't have to compromise either." **Public Commenter, on indigenous language representation:** "I was really surprised to hear that they were potentially not going to do that, that they weren't going to have the Whatcom Lummi version. I resonated so much, like my whole body was like, yes, amazing, it just feels so good to me to see that on the same scale and size as Whatcom." **Nick, on Setting Sun Alley vision:** "This is the one that I think has the most probability for charm and character to really take hold into a vibrant district that connects the arts district to the waterfront, and hence the name Setting Sun." **Carol, on public art's impact:** "I love art and I'm part of the public works division. It makes a city, it just it makes a city when you have art, it just it really does." **Heather, on community response to public art:** "There's something about art that is when it's for all people and it's gentle and it's beautiful and neat, people respond to that and they end up being protective of it."

## Meeting Overview The Bellingham Arts Commission convened on April 1, 2025, for what became a comprehensive three-hour session addressing several major public art projects across the city. All commission members were present, creating a full panel to review concepts for three downtown beautification initiatives, neighborhood signage, and a museum installation. The meeting's length reflected both the complexity of the projects under consideration and the commission's thorough approach to providing artistic guidance on public investments. What made this meeting particularly significant was the breadth of projects spanning from major mural installations to intimate neighborhood identity markers, each requiring different levels of artistic oversight and community sensitivity. The commission grappled with questions of cultural representation, artistic integrity, and practical maintenance concerns that would define these works for years to come. ## Lakeway Drive Mural Concept Review The evening began with Nick from Paper Whale presenting refined concepts for a major mural installation in the Lakeway Drive underpass beneath I-5. This project, part of the downtown beautification and activation grant program, represented a high-visibility opportunity to create an artistic gateway to Bellingham. The proposed design featured water themes flowing across both the north and south walls, with the north side representing currents, rivers, and tides as traffic heads west toward the sea, while the south side depicted the landscape where "the sharp hills of the Chuckanuts and the islands meet the water." One wall would show sun while the other displayed clouds and rain, "capturing the climate of our region." However, the design sparked immediate concerns from commissioners about religious symbolism. The word "Whatcom" was integrated into both walls in a way that created what appeared to be a prominent cross in the center of the composition. As one commissioner observed, "It also has a kind of a Christian bouquet to it... I grew up in the Roman Catholic Church, and that's very much vibing with me like church stained glass windows... the cross in the center." The potential for misinterpretation was significant given the mural's prominence. "This is probably one of the most important mural locations. It's very visible that we have," noted a commissioner. "It's really important to make sure we get it right." The design had originally included directional hands pointing toward downtown, but these were removed after Public Works warned that "hands would be manipulated in a way that could become offensive" due to vandalism concerns. As Nick explained, "When there's fingers, then people like decide" to alter them inappropriately. Commissioners also noted that the color palette, while attractive, appeared less vibrant than earlier concepts. One member hoped that when the artists exercise "some artistic license when they're on the scene, that they steer toward greater vibrancy." A significant cultural dimension emerged when Nick revealed that the design originally incorporated the Lushootseed word "Quatquim" alongside "Whatcom," but this element was being reconsidered. "We were really working with our tribal partners to incorporate the Lushootseed word Quatquim in it, and I think we have come to an agreement that because these two artists are not indigenous, that we're gonna probably steer away from using that, even though it's been a big part of our work to see more indigenous language into the works of art." The commission ultimately decided to request a revised version that addressed the cross symbolism concerns while maintaining the water and landscape themes. Nick confirmed they had time for revisions before the July installation date and agreed to return with updated concepts. ## Railroad Avenue Mural Approval The commission then reviewed a concept for the Railroad Avenue parking garage mural by Nora Brun, a San Francisco Bay Area artist who won the People's Choice first place award at the 2024 Noisy Waters Mural Festival. The proposal featured Brun's signature hyperrealistic peony flowers rendered in vibrant, warm hues against the gray parking structure. Commissioners appreciated Brun's photorealistic style and her track record with large-scale building murals. The composition promised to bring striking color contrast to what was otherwise a utilitarian concrete structure. However, several technical concerns emerged during the discussion. The wall's coarse stucco surface posed potential challenges for fine detail work. As one commissioner noted, "I've put hands on it, and it's really rough... some of the details gonna get sacrificed if unless she does incredible priming." The surface had grooves and texture that could interfere with Brun's intricate style. More pressing was the issue of ground-level maintenance. The proposed composition included white flowers at the base of the wall, precisely where urban grime, vehicle exhaust, and general street dirt would accumulate most heavily. "I'm just noting that there's a lot of like spray paint and just kind of general dinge at that baseline," observed one commissioner. The commission compared this to existing murals in town that suffered from similar placement issues. "Gretchen and Jason LeClaire's beautiful mural of the salmon has a similar situation in terms of it's painted right up against the ground, and it also is in need of cleaning." Despite maintenance concerns about putting "white right at the very bottom" where it would "show the dinge immediately," commissioners appreciated that the white flowers worked compositionally and that starting the mural higher up would look strange. The discussion led to a practical compromise. Commissioner Amy moved to "consider just a slight revision to the design to adjust the tone of the white flower to a darker tone" to better withstand the inevitable accumulation of street dirt. The motion passed unanimously, allowing the project to proceed with that minor modification while avoiding the need for the artist to return for another approval. ## Setting Sun Alley Activation Concept Nick then presented an ambitious concept for transforming the alley behind the Pickford Film Center and Spark Museum into what he termed a "gallery alley" connecting the arts district to the waterfront. The project's scope was immediately apparent – spanning two blocks with multiple property owners and businesses that would all need to cooperate for success. "Of all the alleys downtown, this was the one that we really felt in our gut had the best chance for success," Nick explained. The alley slopes downward toward the waterfront, creating views of the water from the Pickford, which inspired the "Setting Sun" theme connecting to the anchor tenant Children of the Setting Sun Productions. The activation plan included multiple components: illuminated light boxes by stencil artist Nikki McClure, off-site painted panels by Stevie Shao that could be mounted and replaced annually, papel picado-style metal mesh installations spanning between buildings, and gallery lighting for rotating artwork displays. One striking element was the proposal for powder-coated metal mesh panels suspended across the alley in chromatic patterns. These would create movement with the wind while remaining weather-resistant, unlike traditional fabric papel picado that would "get torn to shreds probably in the first few years" in Bellingham's windy conditions. The project faced immediate practical challenges. Twelve property owners needed coordination, and clearance heights had to accommodate delivery trucks and sanitary service vehicles. As Nick noted, "If we can make it good for [the sanitation company], then it will be good for essentially everybody else." Commissioners noted fresh razor wire recently installed on building edges, evidence of ongoing security concerns in the area. When asked about this, Nick explained that the particular building "is really easy to climb up all that stuff" with grated windows and piping providing handholds for people to reach the roof for vandalism or other activities. The ambitious scope meant not all proposed elements might be achievable within budget constraints. Nice-to-have elements like additional building murals were secondary to the core alley transformation. The phased timeline would begin in May with the first installations and conclude in August. Waste bin consolidation represented another significant component, with hopes to reduce numerous individual bins to fewer large dumpsters and potentially paint them to blend with the overall aesthetic. However, this required approval from the sanitation contractor, which remained uncertain. The commission expressed enthusiasm for the concept while requesting updates on final designs rather than another full approval process. The project represented exactly the kind of creative placemaking that could transform an underutilized urban space into a destination. ## Lettered Streets Neighborhood Sign Design Natalie from the Lettered Streets Neighborhood Association presented four variations of their proposed neighborhood entrance sign, seeking final approval after previous commission feedback. The variations were minimal – different contractions ("we're happy you're here" versus "we are happy you're here"), slight text size adjustments, and the presence or absence of a bottom banner element. The design featured whimsical illustrations with text elements arranged in various sizes and positions throughout the composition. However, Commissioner Eric immediately identified fundamental design issues that had persisted from the previous review. "My feeling with sign design is that there should be more similarity between the sizes and readability of the different typefaces," Eric explained. "This is more of a sensibility for a printed page and not so much a sensibility for a sign." He contrasted this with highway signage where text maintains "same size, same color, same positioning" for optimal readability. The core problem was hierarchical inconsistency. "Welcome to the" appeared at the top while "neighborhood" appeared at the bottom, breaking up what should read as a single phrase. "I would have the welcome to the lettered streets all be cohesively one element," Eric recommended, "and have the illustrations be another element around that." Commissioner Tara agreed: "When I look at that, I look at welcome to the lettered streets neighborhood, you have the lettered streets there, and in those open spaces... you would infill the text big enough so that you could read them" for anyone driving by who needed to quickly understand the sign's purpose. The design reflected what one commissioner called "a sign that doesn't want to be a sign" – caught between branding the neighborhood and providing wayfinding information. The neighborhood's original vision was more about "visual identity" but evolved to incorporate traffic department guidance about sign best practices. Natalie explained their constraint: "We were kind of hoping like we're gonna get this approved done, and going back to the designer again at this stage may cost us more money than we have." The neighborhood was at their design budget limit. Commissioner Darby reminded everyone that "Arts Commission is an advisory body... You don't have to keep coming back to the Arts Commission until the Arts Commission satisfied." The goal was to provide clear professional guidance while allowing the neighborhood to make final decisions. The commission ultimately moved that "the sign captures the spirit of the neighborhood and the commission encourages the neighborhood to also try and incorporate feedback for how to make the readability and legibility of the sign as clear as possible before finalization." The motion passed unanimously, providing guidance while respecting the neighborhood's budget constraints. ## Nocturnal Lanterns Museum Installation The final major presentation came from artist Heather, proposing nocturnal animal-themed lanterns for the exterior wall of the Whatcom Museum's Lightcatcher building. The project had already secured Tourism Commission funding for the full 40-foot installation after initially being approved for just the first 20 feet. Heather brought physical samples showing the proposed materials: stainless steel cutouts backed with shatterproof acrylic and dichroic film – a NASA-developed material that creates color-shifting effects while providing UV protection. The lanterns would project patterns onto surrounding walls through indirect side lighting, creating shadow-and-light artwork visible only at night. "We use single point LED lights," Heather explained, referencing their nautilus installation in downtown Portland that had operated successfully for two years without replacement despite all-weather exposure. The lighting would be "quite soft light... it's easy on the eyes" rather than harsh illumination. The proposed nocturnal animal theme included endangered species like the Cascadia red fox (only 16 remaining), gray fox kits, big brown bats, and sphinx moths, along with night-blooming plants like nicotiana quadriballis – a traditional coastal tobacco that went extinct regionally and was restored from Norwegian seed banks. However, Commissioner Amy raised crucial concerns about balancing artistic sophistication with the museum's dual mission serving both children and adult audiences. "You've got this great opportunity to put this on an art museum... and you want it to read as an art piece and not something you were doing for a children's museum." The challenge was creating animal representations that were recognizable without being "cutesy or goofy" or appearing designed primarily for children. Amy pointed to one example as successful: "Your form of the fox is very simplified. You've kind of brought it down to the essence and it's just the head... sort of this iconic kind of thing... which really helps like you read the intricacy in cut work." Technical considerations included height placement to prevent tampering while maintaining visual impact, and potential wall preparation to address existing graffiti patches that would visually interfere with the installation. The museum's facilities staff expressed interest in potentially repainting the entire wall section. Heather emphasized the community-protective effect of well-designed public art: "There's something about art that is when it's for all people and it's gentle and beautiful and neat. People respond to that and they end up... protective of it and they want to make sure people aren't tagging the walls." The commission approved the concept unanimously while noting this was part of the temporary downtown activation program rather than the permanent public art collection, allowing for different durability standards and eventual replacement or removal if needed. ## Public Comment and Cultural Representation The public comment period brought important perspectives on cultural sensitivity in public art. Andrew Molitor offered specific technical advice about the Lakeway mural, noting that while the north side receives interesting bands of light, "the south side never gets direct light. Never." This could significantly impact how colors and forms appear throughout the day. More significantly, Heather raised concerns about the decision to remove Lushootseed language from the Lakeway mural design. "The feedback I've received is that reflecting the local regional language is incredibly important... putting it in as many places as possible, road signs, et cetera, like murals, wherever it can be, it's amplifying of the regional language and the regional culture." She emphasized the need for broader consultation: "It's important to recognize that one person can't represent an entire culture. No one person is a monolith, right?" Her recommendation was to involve multiple indigenous advisors including the Lummi Cultural Council and tribal leaders, not just individual consultants. The discussion highlighted the complexity of cultural representation in public art – the difference between appropriation by non-indigenous artists and legitimate collaboration with indigenous communities who specifically request representation of their languages and cultures in public spaces. ## Closing and Administrative Updates The lengthy meeting concluded with administrative updates on filling two vacant commission seats. Staff had conducted three interviews and were waiting for additional applications, particularly seeking candidates with public art installation experience and architectural backgrounds. The final selection process would involve staff recommendations, commission feedback, and mayoral interviews. Commissioner Patricia raised questions about ongoing maintenance challenges at Big Rock Garden Park, where sculptures face deterioration and safety issues. Staff acknowledged the city's extremely limited maintenance budget for public art and the complex funding restrictions that limit using one-percent-for-art funds for conservation work. The meeting ended with appreciation for the thoroughness of review and the collaborative approach to providing artistic guidance while respecting project constraints and community needs. Each project represented different aspects of Bellingham's growing public art program – from high-visibility gateway installations to intimate neighborhood identity markers to innovative temporary activations that could become permanent community assets.

## MODULE S1: STUDY GUIDE **Meeting ID:** BEL-ART-2025-04-01 ### Meeting Overview The Bellingham Arts Commission met on April 1, 2025, to review several public art projects including murals, an alley activation, and nocturnal lantern installations. The meeting focused heavily on design concepts and approval processes for downtown beautification projects funded through grants. ### Key Terms and Concepts **Downtown Activation and Beautification Grant:** A city funding program that supports temporary and semi-permanent art installations to enhance downtown areas. Several projects discussed at this meeting were funded through this program. **Papel Picado:** Traditional Mexican decorative banners made of paper or fabric, cut with intricate designs. In this meeting, a metal mesh version was proposed for the Setting Sun Alley project. **Dichroic Film:** A NASA-invented material that changes colors depending on the viewing angle and lighting conditions. Proposed for use in the nocturnal lantern project to create dynamic color effects. **People's Choice Award:** A community voting system used at the Noisy Waters Mural Festival where attendees vote for their favorite artist, who then receives a prize wall for a larger mural project. **MDO (Medium Density Overlay):** An exterior-grade plywood material used for outdoor mural panels that can withstand weather conditions while providing a smooth painting surface. **Anti-graffiti Coating:** A protective sealant applied to murals to make graffiti removal easier and protect the artwork from vandalism. **Semi-permanent Installation:** Art projects that are not part of the permanent public art collection, allowing for different durability standards and easier removal or replacement if needed. **Quatquim:** The Lushootseed word for "Whatcom," which was originally proposed for inclusion in a mural but later removed due to concerns about non-Indigenous artists representing Indigenous language. ### Key People at This Meeting | Name | Role / Affiliation | |---|---| | Nick (Paper Whale) | Executive Director of Paper Whale nonprofit, presenting multiple mural projects | | Darby | City staff member facilitating the meeting | | Natalie Baloy | Representative from Lettered Streets Neighborhood Association | | Heather | Artist presenting the nocturnal lanterns concept | | Carol Rofkar | Public Works staff member | | Amy | Museum staff member working on the light catcher project | | Eric | Arts Commission member providing design feedback | | Patricia | Arts Commission member | | Andrew Molitor | Public commenter asking about Big Rock Garden Park sculptures | | Brian Russell | Public commenter attending his first meeting | ### Background Context This meeting occurred during a period of significant expansion in Bellingham's public art program, with staff noting an "avalanche" of 1% for art projects compared to the usual one or two per year. The city has been working to better coordinate between departments to incorporate artists into the design process earlier rather than after projects are already underway. The meeting addressed several ongoing challenges in public art management, including limited maintenance budgets, the need for anti-vandalism measures, and balancing artistic vision with practical concerns like traffic safety and building codes. The commission serves an advisory role, providing professional feedback to help inform the mayor's final decisions on projects. ### What Happened — The Short Version The commission reviewed three main projects. For the Lakeway Drive mural, they requested revisions to address concerns about religious symbolism in the design and asked to see both sides redesigned. The Railroad Avenue mural received approval with a request to darken the white flowers at the bottom to reduce maintenance issues. The Setting Sun Alley activation project was presented for feedback, with implementation planned in phases from May through August. The Lettered Streets neighborhood sign received a recommendation to improve readability while maintaining its whimsical character. Finally, the nocturnal lanterns project for the Light Catcher Museum was approved, with artists and museum staff to meet the next day to refine the concept. ### What to Watch Next • The revised Lakeway Drive mural design will return to the Arts Commission in May • Setting Sun Alley project implementation begins in May with completion by August • Nocturnal lanterns project moves forward with concept refinement between artists and museum staff • Arts Commission continues filling two vacant seats through ongoing recruitment and interview process ---

## MODULE S2: FLASH CARDS **Meeting ID:** BEL-ART-2025-04-01 **Q:** What is the People's Choice Award at Noisy Waters Mural Festival? **A:** A community voting system where festival attendees vote for their favorite artist, who then receives a prize wall for a larger mural project in the city. **Q:** Why were the pointing hands removed from the Lakeway Drive mural design? **A:** Public Works advised that hands could be manipulated by vandals to create offensive gestures, so the artists decided to avoid potential vandalism. **Q:** What material will be used for the papel picado installation in Setting Sun Alley? **A:** Powder-coated metal mesh instead of traditional fabric, because fabric would get torn apart in the windy alley conditions. **Q:** Who is Nora Brun and what type of art does she create? **A:** The 2024 People's Choice first place winner from San Francisco Bay Area who specializes in hyper-realistic peony flower murals. **Q:** What is dichroic film and where was it invented? **A:** A color-changing, UV-protective material invented by NASA that shifts colors based on viewing angle and lighting conditions. **Q:** Why was the Lushootseed word "Quatquim" removed from the mural design? **A:** Because the artists are not Indigenous and there were concerns about non-Indigenous artists representing Indigenous language in their work. **Q:** What is MDO and how is it used in the mural projects? **A:** Medium Density Overlay - an exterior-grade plywood material used for outdoor mural panels that Paper Whale has used for three years at the mural festival. **Q:** How many property owners and businesses are involved in the Setting Sun Alley project? **A:** Approximately 12 property owners and an equal number of businesses that all need to be on board for the project. **Q:** What was the main concern about the white flowers at the bottom of the Railroad Avenue mural? **A:** The white color would show dirt and grime immediately at ground level, requiring more maintenance in that high-traffic area. **Q:** What makes the Arts Commission's approval different from final project approval? **A:** The Arts Commission serves an advisory role - their recommendations go to the mayor for final decision, and projects don't need to keep returning until the commission is fully satisfied. **Q:** What lighting technology will be used for the nocturnal lanterns? **A:** Single point LED lights that have proven durable in outdoor conditions, with one light lasting two years through all weather conditions. **Q:** Why are downtown activation projects treated differently from permanent public art? **A:** They're considered semi-permanent with different durability standards, allowing for easier removal or replacement while still hoping they last many years. **Q:** What was the timeline for the Setting Sun Alley project implementation? **A:** Phased timeline starting in May with the first mural and completing all installations by August 2025. **Q:** How far will the nocturnal lanterns extend from the building wall? **A:** Maximum of two feet to ensure trucks can still travel through the alley and art can be unloaded in the loading bay. **Q:** What is the current status of Arts Commission membership? **A:** Two vacant seats with three interviews completed and potential for more applicants, particularly seeking people with public art and architecture experience. **Q:** What was Andrew Molitor's main concern about Big Rock Garden Park? **A:** He's trying to understand the city's plan for conserving public art there, noting that some sculptures have collapsed and need attention. **Q:** How does Paper Whale acquire the small artworks for the gallery alley? **A:** They procure pieces at the closing art auction of the Mural Festival where the community is invited to bid on works created during the event. **Q:** What height restrictions affect the papel picado installation? **A:** The design must accommodate delivery trucks and sanitary service trucks that need minimum clearance height to pass through the alley. **Q:** What feedback did the commission give about the Lettered Streets sign design? **A:** Make text sizes more consistent and larger for readability, group related text together, and let illustrations provide the whimsy rather than varied typography. **Q:** What is the planned maintenance approach for the Setting Sun Alley murals? **A:** They'll avoid asphalt painting due to maintenance issues but plan to touch up single-tone areas once a year as needed. ---