FWPA COMMISSIONED COLLECTION | Commissioned by the City of Fort Worth 

This sculpture transforms a civil rights-era bus into a public artwork that connects the struggle for equal rights and justice from a national narrative to a local one, highlighting connections between the two. Aluminum panels within the bus shell focus on Willis Pace - Fort Worth's first black city bus driver, Montgomery Bus Boycott, Freedom Riders, and Desegregation Bussing. Additional panels feature the Lenora Rolla Center, Grand Theater, Baker Chapel, and Ella Mae Shamblee Library, as "stops" which all play key roles in telling the area's story.

During Gordon Huether's micro-residency, he learned that one of the officers' main goals is to be recognized as members of the community. To support that goal, the Fort Worth Police Department is actively working to strengthen its relationship to the community. The Final Design includes a sculpture which serves as a metaphor for the officers in blue lifting up the community which is symbolized by the mirror-finished stainless-steel sphere. Commanding yet welcoming, the piece is imagined as a bridge, making two become one.

Entitled Right Turn Only, Reigelman's artwork is a vortex of condensed traffic arrows spiral in on themselves and twirl upward toward the sky. Drawing upon the roundabout's cyclical motion, the playful artwork nods to the directional signage that will be part of the roundabout and acknowledges the rich aeronautical history found in the community. The overall spiraling form acts as a traditional symbol of growth, rebirth and ascension. Comprised of hundreds of bright blue steel and aluminum arrows, the artwork is poised to become a bold and whimsical landmark for this re-emerging community.

Seed the Future is inspired by migration and the natural landscape. Garcia chose to reimagine the dandelion, which is known as a wide spreading seed flower. Transforming the distinct "T-shape" clusters of the plant, the sculpture includes a series of cattle horns that create a sense of repetition and movement. The resulting larger-than-life mirrored stainless-steel sculpture becomes a symbol of the legacy and history of the area while reflecting today's community as one. Further, the work's reflectivity is intended to create interest from afar while connecting to viewers directly up close.

Elizabeth Akamatsu's Rising Strong is inspired by the Diamond Hill area's family legacy. The artwork celebrates the community through the concept of planting a seed, setting roots, and growing a bountiful life. The stainless steel sculpture includes flowers inspired by Diamond Hill's namesake which reflect the colors of its surroundings. The artwork sits upon a concrete platform and is intended to act as a landmark for the neighborhood.

Listening Trees is inspired by the universal symbols of bells and trees: bells provide solace and signify a time for fellowship; trees represent spiritual nourishment, growth, and strength. A series of interactive musical sculptures, the artwork utilizes colorful brass funnels, bells, and wind chimes. Each work naturally resonates and amplifies the sounds of both added elements and the natural soundscape of the park.

Entitled Fabled, this artwork draws on the library's role as a teller of stories and stories as creators of place. Composed of long, rectangular, slender wooden and glass rods that appear to be descending from the ceiling, the artwork steps off the form of a pillar captured in the act of assembling itself, representative of the stories already in place and the assembling of new voices of community members who have not yet been born or arrived here. Elements are intended revealing digital content, text and images. Likened to a deck of cards, the layered content elements will shuffle to create a variety of combinations over time.

Julie Richey's series of mosaic artworks includes a variety of animals such as gallivanting dogs and lounging cats, each becoming a new "furry friend" at the complex. These playful animals are spaced throughout the grounds, inviting visitors to explore the campus while encouraging them to consider adoption. Overall, the installation is intended to highlight the joy and adventure pets add to our lives.

Joe Barrington's Cowtown Dalmatian is a larger-than-life longhorn. The proposed stainless steel sculpture with splatters of silver and bronze spots is intended to reflect the area's rustic aesthetic and echo its western heritage. Inspired by a micro-residency with the Fort Worth Fire Department, the longhorn stands atop a native limestone rock facing the City which references the department's commitment to serving as a guardian to its citizens.

One With the Bee invites visitors to experience the work much as an insect would an actual flower. The sculpture is 20 foot high, flaring from a 30 inch base to a diameter of 10 feet. A 180-degree opening on one side of the piece allows the viewer to see the center pollination of the flower, which is crafted in stainless steel.

Drawing from craft, Virginia Fleck's sensory maze focuses on connectedness through multiple forms of weaving. The brightly painted vertical beams are arranged in three concentric circles as a dimensional mandala, associated with wholeness and healing. As a viewer moves to the center, they will find themselves reflected in the beams' mirror surface, which creates a rhythmic fun house effect. The work's flickers, shimmers and sounds activate sensory experiences which are intended to bring viewers back to their own center.

Weather Vanes is a series of twelve large-scale kinetic weathervane along approximately three miles of the North Beach Corridor, from Shiver Road to Timberland Boulevard. Pivoting with the direction of the wind, each unique sculpture has the form of a native animal, bird or reptile, made from locally-sourced recycled materials. The choice of materials have a humorous connection with the creature depicted, such as an armadillo made of truck bumpers and shovel heads.

Working from a life-long fascination with origami, Cravens developed a series of five sculptures along Forest Park Boulevard that walk the viewer through the progression of folding an origami Scissor Tail Flycatcher, a native species also known as the Texas bird-of paradise. These white sculptures create a contrast to its environment, providing commuters and trail users a respite on their way into and out of downtown along this busy corridor.

Wildflower is an abstraction of a field of wildflowers inspired by the annual bloom of brightly colored flowers along Texas interstate highways. Comprised of a multitude of colorful vertical elements, the artwork creates visual impact from Interstate 30 and reflects the diverse nature of the surrounding community. Taking color palette inspiration from native species of wildflowers and crepe myrtles, the design features steel verticals painted in various shades of pink, orange and red.

Titled Parallel Evolution, Walter's sculpture references elements of a golf swing combined with the spiral form of the ammonite fossils found in Rockwood Park while the upright form echoes the trunks and canopy of the heritage oak trees and stalks of flowers found on site. The stainless steel artwork is painted a butterfield yellow, to contrast with the sky and the greens of the golf course. The artwork is intended to act as landmark for the area, visible from Jacksboro Highway.

Inspired by the natural beauty and rich history of Lake Como Park, the sculptural installation Do Something Good For Your Neighbor acts as a frame literally and figuratively. It serves as an invitation to gather and to gaze both outward and inward upon aspects of nature and community. It honors community leader and Lake Como Weekly founder and publisher, William H. Wilburn, Sr., and Amon G. Carter, Sr., who each played a vital role in the establishment of Lake Como Park.

"Flight" was inspired by Fort Worth's aviation history, patterns of migrating birds and jets flying in formation. On the Downtown end, the free-standing sculpture with 28 "longhorn/birds", 12 feet in width, with internal LEDs is installed i the median. On the south end, an additional 35 pieces are mounted under the I-30 bridge with 5 emerging from the underpass.

Located in Rosedale Plaza Park, artist John Yancey's Legacy is a series of sculptural mosaic murals which reference the history of the neighborhood through visual references to trains, African-American quilts, and West African masquerade. The history of the Stop Six area is represented in the footprint of the art and in community plaques set into the concrete.

Texas Surveys is the latest iteration of Quayola's ongoing research on the tradition of landscape painting and, more broadly, a reflection on man's tradition of representing nature. He allows us a new and different glimpse at the natural world by capturing a different perspective on Fort Worth's natural elements including trees, the landscape, and horses using different technological processes such as high-precision 3D laser scanning systems and digital tracking systems.

For Pioneer Tower Dreams, Anadol "celebrates the people, places, histories, and dreams of the city that have been woven together through interpersonal and social interactions over the years." The work allows us to explore Fort Worth through the mind a of a machine with the artist's use of machine learning algorithms trained on data sets to visualize a consciousness of Fort Worth previously unseen. This artwork is a collective performance and journey into the imagination, memories, and dreams of the unique and pioneering town that is Fort Worth.

This site specific pedestrian bridge spans the culvert along Westcreek Drive between Martin Lyndon Avenue and Cordone Court, helping enhance pedestrian connectivity. Entitled Drift, the bridge is inspired by the natural formations of the creek and the mid-century architecture of the neighborhood. It transforms from a geometric form to an organic shape, widening in the center to offer seating for the public to briefly rest and enjoy the view. The ADA compliant bridge is made from laminated Spanish Cedar and treated with an anti-graffiti coating.

Joe O'Connell, founder of Creative Machines, was inspired by connections: Matisse's famous painting La Danse, the way neurons connect as a mind learns, the connections made between community members, the trails of shooting stars overhead, and the artist's personal memories of visiting libraries throughout his life. Only Connect includes colored glass spheres and laser-cut stainless steel lacework with incorporated LED lighting using optical sensors and interactive buttons. Additionally, two exterior neuron components along East Lancaster Avenue.

"Art + Knowledge" is comprised of three screen-like sculptures that explore different aspects of the prairie. Developed with input from the Nature Center the categories are Flora and Fauna (a metaphor for community and ecosystem); Pond (water and aquatic systems) and Prairie (seep hydrology and bench topography). The artworks is located in the northwest corner of the park; near the pond and near the south end of the park, respectively. Each one features circular discs in varying sizes with the artist's drawings of wildlife and plant life depicted in enamel on steel.

The first thing the viewer sees as they enter the library is a sculpture of a stack of books. Atop the nooks is a figure reading. From inside the stack of books emerges a shiny, silver-colored figure, climbing out from beneath the pages. Inside the library are numerous cast aluminum figures on various adventures- looking, exploring, climbing, jumping, running, crawling and more.

Inspired by the energy, vibrancy, and activity in the area, the artist designed a work that relates to the name of the street name, Race. The artwork features brightly colored tiles and LED strips embedded into the sidewalk. The movement speed of the lights are controlled by two steering wheels nearby, allowing players to race their light streams. The artwork engages residents visually and physically, while capturing the playful and spontaneous energy of the neighborhood.

Entitled Haven, this Public Art Project by artist Sally Weber honors the history of the people who came in search of a home along the fertile West Fork of the Trinity River. Composted of a grouping of three house structures, each house is built of painted, square tubular steel. Two houses contain glass panels with imagery, each side panel honoring a different aspect of the region past and present.

Gachman Metals & Recycling partnered with the City of Fort Worth to commission an artwork in recognition of the business's 100th Anniversary. Inspired by the metal shapes that emerge from the facility's industrial shredder, artist Mike Ross chose to render a selected fist-sized piece of recycled metal as a 9'6" sculpture that tells the story of its own creation. The original foam construct was cast in 10 parts by the Fort Worth Aluminum Foundry using recycled aluminum from car wheels donated by Gachman Metals. The final sculpture was welded together by local artist Rebecca Low.

Animalis Works, LLC, was inspired by the park's reemergence as a stopping point on the migration route of monarch butterflies. Bringing attention to the phenomenon of this migration, "When Air Becomes Sky" makes reference to the height at which monarchs fly. A total of 3 larger-than-life stainless steel butterfly sculptures with approximately 6,500 embedded crystals are dispersed along 2 trails within the park.

Adam Neese's eye-catching glass artwork is integrated into the front porch area of the new Como Community Center. The impactful piece welcomes visitors, echoing the tradition of porches in the neighborhood. The overall design references community gathering through generations with translucent layers of graphic texts from The Lake Como Weekly, images of the current Como landscape, and silhouettes of today's Como citizens. Together, the artwork combines past and present to illustrate Como's bright future.

Inspired by the rich history of the Municipal Court Building, artist Riley Holloway's three glass panel artworks commemorates the peaceful Civil Rights demonstration in 1965 that led to the City of Fort Worth's groundbreaking ordinance which formalized and empowered the Community Relations Commission (now known as the Human Relations Commission). Referencing historic Fort Worth Star Telegram photographs of the demonstrators, Holloway illustrates an important moment of our past while recognizing the ongoing effort for equality today.

The imagery of Trail Driver Dreams draws upon the history of Fort Worth stockyards, meat packing plants and the multicultural history of the people that settled the area. Huerta's design is based on vintage western scarf designs depicting longhorns, along with a cowboy and a cowgirl, and is incorporated via form liners into the structure of the bridge rails. The work includes two longhorn mosaic tile medallions within the sidewalk, marking the trail connection with Trail Drivers Park.

Local Artist Kris Pierce's series of three permanent sculptural concrete plinths form an exterior gallery for temporary outdoor artworks, a new program of the Fort Worth Community Arts Center. Each plinth honors the spirit of the building's original Bauhaus-informed architecture by Principal Designer Herbert Bayer, whose 1925 universal alphabet served as inspiration for the plinths' minimal, balanced forms.

Created in 2015, Vase With Nine Flowers was selected from among several outdoor sculptures by James Surls and acquired by the City through direct purchase. Standing 17 feet in height and over 6 feet in width, the bronze and stainless steel abstracted floral sculpture is in Surls' characteristic style. It provides an aesthetic and meaningful focal point along Montgomery Street - a gateway into the Cultural District, the Will Rogers Memorial Complex, and the new Dickies Arena.

Carousel is located in the roundabout at East Rosedale Street and Mitchell Boulevard. The beautiful artwork is in the form of a "carousel", with six large, colorful parrots - a reference to the mascot of nearby Polytechnic High School and the importance of education. Its theatrical quality references the Jubilee Theatre, which was originally established in this neighborhood, and the theatre department at Texas Wesleyan University (TWU). Designed as a stationary �"carousel" meant to be experienced by motorists driving around it, the artwork serves as a metaphor for the circle of life.

Artist Shawn Smith designed Burning Bright as a symbol for the city and its growth. Instead of depicting the panther asleep as it is in the famous quote, Smith chose to depict it running with speed and purpose as a reflection of the firefighters and their remarkably fast response time. The tail end of the panther is heavily pixelated and broken into small fragmented pieces that gradually form together into the solid structure of the head of the panther. This was intended as a metaphor for the individual small towns in the area growing together to create a single community, moving forward with purpose and strength.

The Welcome Space, located at the Highland Hills Community Center, features two outdoor benches having the appearance of couches covered by quilts, welcoming visitors by seating them among the excellent patchwork of community members who have graced the neighborhood over the years. The artwork recalls the African American legacy of quilting and hand-made craft. The portraits feature people of different ages and genders and also includes other institutions commemorating the neighborhood's history and heritage.

Pieces of Yesterday, Today & Tomorrow, a multi-faceted painting by local artist Gregory Beck. Located at the East Division Police Station, the vibrant artwork is inspired by the spirit of East Fort Worth and its ties to, and influences on, the City. The overall work, comprised of 27 individual pieces and 8 large scale panels, illustrates a puzzle in progress. Each piece of the puzzle is inspired by East Fort Worth's historic relevance and cultural diversity, showing the evolution of the community in Handley-Meadowbrook.

Located at the Bob Bolen Public Safety Complex, the sculpture is based on the shape of Fort Worth's Police and Fire Department patches, with two halves intersecting and supporting each other, expressing solidarity between the departments. Inside the large, curved forms, unique shapes of numerous patches collected by the Fort Worth Fire Department and Fort Worth Police Department are water-jet cut into 1 inch thick COR-TEN steel, creating an overall pattern that creates intricate shadow play on the plaza at the entrance to the Administration Building.

Zarape utilizes a representation of a human profile to convey the diversity of the community. At fifteen feet in height the sculpture is fabricated with metal tubing, cut to shape and powder coated. Inspired by the vibrant colors of the iconic Sarape blanket of Mexico, the artwork uses its hues to identify the uniqueness of ALL in the community. The sculpture can be viewed from four directions while its height allows visibility from Hemphill Road.

Acknowledging flow patterns of the river below, four identical sculptures mark the East 1st Street Bridge as it passes over the West Fork of the Trinity River. Motion �'¢â‚¬â€ in water and air, or in any liquid or gas‚ is expressed in a triad of twisting steel reeds mimicking the surrounding natural habitat. Each rising waveform sentinel reminds travelers of the relationship between man and nature, softening the urban experience and honoring the river�'¢â‚¬â„¢s three essential branches running through North Texas.

Urban Still Life melds abstracted historic graphic images and signage with contemporary materials to create a series of six light sculptures along the redeveloped mile-long South Main Street Urban Village Corridor from Vickery Boulevard to Rosedale Avenue. Line drawings of familiar shapes and logos found along South Main are overlapped and cut from brushed stainless steel to become abstracted pattern.

"Collective Transition" explores the dynamics of social interaction as a result of shared physical space and imaginative experience. Lightheartedly referencing the function of �"paperwork” in both work and play, Kobayashi demonstrates how we collectively impact, and are in turn impacted by, what occurs in physical space and our visual site lines. The whimsical formation’s implied transformation, from natural birdlike shapes to classically, hand-folded paper planes to traditional aeronautic prototypes, is an extension of personal evolution and the fluidity and rhythms of conversation.

Artist Julia Ousley designed a walking labyrinth inlaid with engraved granite plaques that name distinguished founders of the Historic Carver Heights Community, interwoven with plaques chronicling significant events of the Civil Rights Movement. At the center of the labyrinth are three steel towers of different heights topped with cutouts of men, women and children, symbolizing generations of the community standing on the shoulders of their ancestors. Smaller, symbolic house forms accompany the central sculpture. These vertical elements act as a marker and help to draw people to the site.

Local artists' original images feature themes of transportation, reading, recreation, environmental stewardship, and the history of Fort Worth's east side are sited along East Lancaster Avenue on a series of street light boxes. Once a busy America highway, the historic thoroughfare was transformed into a grand avenue in the 1970's and each scene nostalgically references the businesses that have impacted the surrounding community over the years. The modern stylization illustrates the ways that neighbors have optimistically embraced change.

Huerta's streetscape design for the Hemphill Berry Urban Village is influenced by the Craftsman-styled architecture found throughout the surrounding neighborhoods. Based on the American Arts and Crafts movement popular in the early 20th century, decorative detailing, simplified natural themes, and fine craftsmanship inform Huerta's functional aesthetic for the 27 pole banners along the intersection. She also provided design work for trash receptacles and public benches that populate the street.

Golden Assembly is inspired by a mathematical ratio called the Golden Section. Through repeating proportions generated by this ratio, Eley explores how original shapes can be infinitely expanded or divided without losing their core identity, creating a sense of harmony and balance. The installation employs this theme, along with a nostalgic use of color and careful siting beneath shade trees, to represent the dynamics and integrity of healthy family and community relationships.

The historic Bomber Heights neighborhood’s contribution to the aviation industry inspires Ekstrom’s sculptural installation at Mary’s Creek. Six carved limestone benches and a welcoming interpretive monument tell the story of the B-36 Bomber (the �..."Peacemaker”) and the men and women that worked the production line at the nearby Vultee plant in 1945. More than 3,000 heavy bombers were produced at the Fort Worth plant. Situated on a community-walking path, "Lining up at Penrose" is mindful of the community’s service to family and country.

The artwork is comprised of four insulated glass units composed of tempered ultra-clear glass, set into the existing window wall for the north elevation of the building. Twelve symmetrical keyboard symbols in gold leaf are set against varied bright translucent colors. Abstract, but also like stained glass, these windows complement an existing, similar artwork in the library by the same artist that consists of the symmetrical letters of the alphabet. While that artwork is located in the reading area, this new piece is adjacent to the computer workstation area. The symbols used reflect this difference.

Scattered along the system of trails that surround Marine Creek, these historic markers remind bikers, joggers, and trail users of the legendary Chisholm Trail, and the herds, sometimes ten thousand cattle at a time, that once were driven north through Fort Worth. Because the park also features preserved wetlands and ecosystem education element, the artist also added fencing designs in the shape of indigenous birds- a red shouldered hawk and a belted kingfisher.

Two animated �"ammonite fossils” mark the entry points of the Fossil Creek Bridge. A testament of the rich ecological history found in North Texas river and creek beds, the sculptures are a playful reminder of the challenges of urban development and community growth. Stanley’s skilled ironwork and color choice identifies the connection between two communities and with the past.

"Memory: Fairmount Park" is a visual reference to the historic neighborhood fabric. Six houses once occupied the block at Myrtle and Henderson, but were removed to make way for the park in 1990, shortly before the area was named a national historic district. To evoke the memory of the missing homes, their house numbers were cast in bronze and installed along the curb. Three sculptural tables re-create steps and porches, which were traditional gathering spaces for neighbors and friends. Basalt gravel paths echo the memory of sidewalks that used to lead up to the houses that once occupied the block.

Rooted in historic narrative and childhood memory, Train celebrates the late nineteenth and early twentieth century steam-era locomotives that roared through east Fort Worth and were largely responsible for the development of Handley, Texas. Set on end, the stylized engine, tender, and passenger cars act as a powerful metaphor for community identity. Handley, now a national historic district, became part of the City of Fort Worth in 1946.

Wind Roundabout is the first-of-its-kind, free-standing piece created by artist Ned Kahn. It was commissioned by the City of Fort Worth through the Fort Worth Public Art program for the Panther Island Bridges project, part of the Trinity River Vision Master Plan. Thousands of small anodized aluminum hinged plates hang from tension cables on a 30 foot tall by 30 foot diameter stainless steel support structure, moving with the ever-changing direction and force of wind in Fort Worth.

An installation of mosaics on six bridge monuments and ten columns mark historic natural habitats and water crossings along the Chisholm Trail Parkway. Images of native water fowl and water-related creatures found in the Trinity River water shed by local photographers are stylistically reinterpreted by Sato as a thoughtful conversation about how the environmental is impacted by progress and development. Each column is capped with a water-related object while the bridge monuments act as majestic gateway markers into and out of downtown Fort Worth.

Ocean of Grass is a celebration of the native prairie in Southwest Fort Worth. Horowitz's integration of stainless-steel rods, bent, curved, and intertwined into the building's facade, alludes to the diverse tall grasses that majestically intermingle in the landscape. Thee daytime sun reflects subtly one the building's modern, monochromatic entrance but shifts dramatically at night with uplighting, highlighting the joining of art and architecture.

Themes of growth and nature extend down the length of West Rosedale Avenue in these ten sculptural lamp pole banners. Native flowers and grasses like primrose, honeysuckle and trout lily are stylized into Art Deco inspired designs that reference nearby buildings and historic significance of the area. The dichroic glass inserts bend light, creating a dazzling color changing effect when motorists drive by on the roadway and as the sun moves across the sky.

Consequently is a memorial mosaic commemorating the life and contributions of Ms. Hazel Harvey Peace. Peace was an influential community leader and teacher whose service to community was marked by her life-long love for knowledge and education. Styled as a mandala (a configuration of spiritual symbols) McIntire uses a repetitive circular motif as a tool for introspection and plays off the name �"Peace” as a classic metaphor for the powerful spirit and gentle nature embodied by her subject. Ms. Peace died in 2008 at the age of 100.

In celebration of the historic cattle drives of Fort Worth, Dewey Street Bridge features imagery drawn from the clothing and objects of cowboys and cowgirls, whose lifestyles revolved around the use and care of horses. Leatherworking motifs from saddles and boots are cast into the concrete bridge in subtle bas-relief. The five pointed star, a treasured emblem of the Lone Star State, is integrated into mosaic medallions on the sidewalk, carefully oriented towards a future hike and bike trail nearby.

Artist Tommy Fitzpatrick designed this simple but elegant silhouette, which is installed on three facades of the Crime Laboratory tower. The organic forms and lyrical lines of the designs were inspired by the trout lily, a wildflower that grew abundantly in the prairies that once covered this region of Texas. Moving upwards through the floral shapes are three vertical lines referencing the interurban rail line that was once a vital part of the Lancaster corridor.

Oxbow Traces depicts an aerial view of the natural and built environments surrounding the historic Edward's Ranch and the Clear Fork branch of the Trinity River. Overlaying the historic onto the contemporary, the composition maps the course of the river both before and later it was channelized in the 1960s as a flood control project. By illustrating the continued presence of the pastoral within the expanding urban environment, the mural conveys the dual nature of the modern landscape.

Trailing the Trinity shows the course of the Trinity River juxtaposed with images of life on the waterway. The triptych traces the route through the historic Edwards Ranch, along the popular hike and bike trail, and into the city center. Thee cowboy's lasso encircles the location of the artwork and the merging of the Clear Fork with the West Fork branches is shown at the kayaker's elbow, marking downtown Fort Worth. The river overlay unites the panels and underscores that the river's strength comes from the unity of its past, present, and future.

Service through the Centuries is a three-part panoramic history of the Evans and Rosedale neighborhood told in fifty year increments. Progressing from the late nineteenth to the early twenty-first century, the compositions captures the changes in architecture, technology, and uniform styles that have taken place around Station #5, including three historic fire station buildings. The murals' increasingly saturated colors allude to modernization, while the benches' shades of blue reference water as an enduring firefighting tool.

Elizabeth Tower symbolizes of the history of Ryan Place Neighborhood. Located in a traffic circle, the work is inspired by grand limestone gates that mark the entrance to the Elizabeth Boulevard Historic District. Local Fort Worth artist Alice Bateman, who works in both steel and granite, designed and fabricated the steel sculpture to resemble the lustrous stone. At night, the elegant sculpture softly illuminates the intersection.

Dreams at 100 Fathoms depicts a swimmer's underwater view bathed in sunlight. Abstracted patterns and a kaleidoscope of color allude to the duality of memory and imagination, evoking the creative potential associated with childhood games and activities.

Local artist Michael Pavlovsky designed this series of twenty four sculptural panels as colorful, graphic anecdotes of the bustling activity happening in this vibrant and busy neighborhood along East Lancaster Avenue. Some designs celebrate the work of individuals at nearby police stations, public transportation hubs, churches, and homeless shelters, but scattered within this narrative are renderings of native animals and plants, adding a lyrical and organic touch to the streetscape.

Trout Lily Clock captures the notion of time and transience. The sculpture's form emulates the Trout Lily flower whose annual blossoming at the nearby Tandy Hills Natural Area signals the start of spring. The clock dangling from the flower's pistil acts as a timekeeper for one of Fort Worth's busiest transportation hubs. By merging form and function, the sculpture's poetic utility complements the intersection of natural and man-made worlds.

Encouraging viewers to consider the quilt as a story-telling device and a reminder of the comforts of home, Urban Quilt is a sculptural re-invention of the traditional and well-loved art from. The imagery is lifted straight from the neighborhood surrounding Berry and Riverside Urban Village's brick houses, grassy parks, industrial signage, fences, and wrought-iron weaving a nostalgic narrative of familiar patterns that also adds a touch of bold, modern design to the area.

Symbolic of diversity and community spirit, a triptych of brightly colored quill-topped shafts refer to the Arlington Heights community and the histories of Hi Mount Elementary School. The wind-activated central banner rotates with the prevailing breeze representing time's passage and the transitory nature of neighborhood growth and change. Significant dates are embedded on the tops of two flanking limestone benches.

Inspired by the cowboy culture of Fort Worth's historic Northside and the tools, clothing, and ornamentation that represent it, Embroidery Dreams features traditional Mexican embroidery work in a series of colorful glass tile murals, sidewalk medallions and detailed relief work on the NE 28th Street Bridge. The artist's use of floral, geometric and animal motifs softens the urban profile of the bridge and celebrates the diverse neighborhood's large Latino population and Charro roots, both important goals for the community and the city.

The two-part installation includes an oil on linen painting in the lobby, and a glass mosaic at the entrance to the building. The compositions investigate the formal qualities of water, including both transparency and mutable color. They are composed of geometric forms that visually fluctuate amidst changing ambient light. Apropos to a state-of-the-art water filtration and purification plant, the pieces convey a luminous quality that ties their formal character to the physical features of water.

The two-part installation includes an oil on linen painting in the lobby, and a glass mosaic at the entrance to the building. The compositions investigate the formal qualities of water, including both transparency and mutable color. They are composed of geometric forms that visually fluctuate amidst changing ambient light. Apropos to a state-of-the-art water filtration and purification plant, the pieces convey a luminous quality that ties their formal character to the physical features of water.

Vaquero de Fort Worth pays homage to the economic and cultural contributions of the Mexican cattle-herders whose traditions gave rise to western cowboys as we know them today. An authentic look at the vaquero's nomadic way of life, this sculpture includes historically accurate details carefully rendered in bronze. As a community initiated project, Vaquero de Fort Worth was the result of collaboration between the artists and dedicated local foundations, businesses, and individuals interested in commemorating and preserving Hispanic history.

Love Story features a cowboy hero, a lovelorn gymnast, and a diverse cast of supporting characters in a three-part narrative inspired by Fort Worth's nickname "City of Cowboys and Culture." The artist theatrically layered symbols of the community's diversity, cultural heritage and involvement in the arts. As part of the project, Michael Kirby conducted a workshop with Safe City Youth who painted a portable mural that was displayed inside the community center.

This series of mosaic murals illustrate the iconic individuals and events that represent the spirit of Fort Worth's western heritage. Based on historic photographs from local archives, the murals collectively portray talent, bravery, and cultural diversity, and complement the nearby Art Deco architecture of Will Rogers Memorial Center buildings.

Reining, Soapsuds, Wimpy, Arabian, Paints, Appaloosa, and Cutting. Continuing Fort Worth's long equestrian tradition, award-winning breeds and exhibitions of expert horsemanship are on display at the Will Rogers Memorial Center each year during the popular Stock Show and Rodeo. Displayed on the exterior of the Center, this series of murals features four distinguished breeds and portraits of Wimpy, the first registered American Quarter Horse, and Soapsuds, Will Roger's own beloved horse.

Artist Frances Bagley and Tom Orr's artwork for Fire Station 27 grew out of their conversations with the fire fighters, who suggested the artwork might represent an aspect of how they solve their challenge of fire fighting. Consequently, the artists chose the concept of water as an element fire fighters use to conquer fire. The sculpture represents an undulating cascade of water, crafted out of steel rod. Appearing like a gracefully arcing fountain, the repetition of vertical lines creates an effect as you move around the sculpture; the work is meant to inspire both the fire fighters at station #27 and the people of the surrounding community.

The five ascending rings of light integrated into the Rolling Hills Radio Tower over three hundred feet in the air were inspired by the classic RKO Radio Pictures trademark - the most recognizable and compelling symbol of communications technology during the Golden Age of Hollywood. The rotating color palettes represent colors found in nature and coincide with the changing seasons. On the 4th of July, a celebration in red, white and blue illuminates the tower.

Themes of non-violence and personal responsibility are narrated in Manuel Publido's two-part mural inspired by a multi-cultural folktale. The progressive unveiling of the starry sky, representing metamorphic change, begins the illustrated tale of Chan Luum, daughter of the great creator, who learns to care for the natural world only after a self-reckoning experience darkens the sky.

Using the silhouettes of local community members, Blue Lines celebrates the Shakespearean depiction of the seven stages of life from infancy to old age in the seven layers of concentric rings. Each faithfully rendered silhouette illustrates community unity, continuity and collective history. Defined by crisp blue LED lighting, the sculpture pays homage to the police force as the vital membrane protecting and maintaining civil society.

Nature's Essence combines form and texture in the hand-carved monolith inspired by native flora and fauna. Employing a mythic journey narrative, Eliseo Garcia illustrates the elemental and imaginative forces that shape and transform the earth. The inclusion of marine and land creatures, patterns resembling moving water, fossilized forms, and plant life refer to the rich and varied geological history of North Texas. The limestone seat walls and an ADA plaza were designed by Kinler RLA.

Prairie Wind nostalgically recalls the natural environment once found in the North Texas prairie. The allegorical female figure, representing the romantic notion of the promise of a prairie wind, references the healing power of Mother Earth. Representational images of animals and multitudes of native plants ornament the base and offer a learning opportunity to park visitors.

Taking its title from a work by the poet Langston Hughes, Freedom Train honors the contributions of African American railroad workers. Located inside the 1931 Texas & Pacific Terminal, a historic water fountain and bench accompany Gottfried's stainless steel silhouette timeline representing the African American experience from the days of segregation to the present. Embellished bronze plaques provide historic context and tell the story of State Representative Garfield Thompson, a former dining car waiter on the Burlington-Rock Island Railroad.

Assembled from glass tiles , this mosaic depicts the native bird and plant life of the North Texas grasslands. The mural's emphasis on pattern and texture creates a theatrical presentation that unites scientific illustration with artistic interpretation. Native flora including Yucca and Brown-Eyed Susan are paired with fauna such as the Blue Jay and Mockingbird. The indigenous life is represented in an expressive manner and ultimately alludes to the tenuous balance between natural habitat and urban development.

Eleven art-glass windowpanes illuminated with gold leaf, symmetrical letters are seamlessly integrated into the architectural space of the library. Reminiscent of medieval manuscripts, the characters allude to the power of the written word. As light passes through the glass, jewel-toned shadows of the signs and colored panels transform the interior space into an vibrant environment and capitalize on the lasting power of the written word.

The total installation of colored glass, sculpture, and sound within the parking garage calls attention to the aesthetic experiences of the everyday. The site-specific work incorporates the chevron designs of the city's Art Deco and Moderne style buildings, as well as the voices of local news commentators, celebrities, and wildlife. Through an immersive experience, commonplace sights and sounds become a complex orchestra that transforms garage patrons into artistic participants.

Hand carved from a sixty-ton red granite block over the course of two years, Earth Fountain is the centerpiece of Byers Green. The three openings perpendicular to three surrounding conjoining streets reference the local built environment while the interior carving illustrates the watershed of the Trinity River - carved to scale one foot equaling one mile - drawing attention to the transformative power of water as it flows and returns to the earth.

Composed of stacked, laser-cut stainless plates, Avenue of Light draws inspiration from the zigzag motifs on the nearby facades of the Texas & Pacific Terminal and Warehouse buildings. Spanning the half mile length of Lancaster Avenue, these six sculptures honor the past with the use of contemporary forms and materials. To celebrate annual events and special occasions, the towers are illuminated at night in different colors.

A pair of seven-foot high, high relief cast stone panels illustrates the valor and strength exemplified by firefighters in the performance of their jobs. The artist's depiction of firefighter's in full, uniform underscore the Department's motto, "to serve and protect"and the historic helmet depicting the cross of Saint Florian, the patron saint of firefighters, and the words "Courage" and "Vigilance" symbolize duty to community.

Friends for Life articulates the intimate and mutually rewarding bond that is possible between animals and humans. Alice Bateman, a local North Texas artist and ardent animal lover, created this functional artwork that also serves as a much-needed outdoor enclosure at the Fort Worth Animal Care and Control Center, providing a safe and natural way for adopters to meet potential animal companions.

Letitia Huckaby's installation reflects the heritage of the Evans & Rosedale neighborhood and the Fort Worth-based artist's exploration of genealogy, history, and themes of family and community. The window design, inspired by traditional African-American patchwork quilts, combines Huckaby's contemporary portraits, historic photographs and blocks of colored glass, visually linking past and present. A mosaic "river" of tile and stone winds through the library from the entrance patio to the literary garden becoming a metaphor for the journey of life and continuity of traditions.

Chroma Refraction consists of forty-six glass roundels suspended beneath a skylight. By manipulating glass material and natural light, the installation incorporates changing atmospheric conditions to create a total environmental experience. The roundels explore the potential of translucent material, chromatic variation, and geometric shape. Light penetrating the glass transforms the open lobby into a colored environment. Shifting atmospheric conditions affect the appearance of the roundels and the nature of the colored light, ultimately resulting in an ever-fluctuating architectural space.

Man's relationship with water is the subject of the multi-part installation at the anterior of the Fire Station. The piece is composed of limestone seating, a drinking fountain, and drought tolerant plants. Text sandblasted into the stone and cast onto the bronze bowls conveys information regarding water usage in Tarrant County, and the limestone benches visualize the amount of water used daily by the average American. The installation makes tangible the critical nature of man's relationship with water.

Monumental spurs and decorative leather belts transport visitors of the Historic Stockyards into the legendary world of cattle drives and the old west. An immersive experience, Rodeo Plaza also includes artistic elements integrated into seating and architecture throughout the street - reminders of the industry that built Fort Worth - horseshoes, cowboy boots, and cattle brands, each inspiring images of ranchers and cattlemen driving their steers through the stockyards.

This bright and colorful pair of mosaics on Chickering Road are a legacy of the historic curbside street signs in early Fort Worth. Their designs reflect Fort Worth artist Devon Nowlin's talent in integrating pattern, decoration, and elements of the natural world. In the summer, the mosaics echo and enhance the verdant lawns of the neighborhood, while in the winter their bright green color promises the coming spring.

Arranged from individually designed ceramic tiles, Stampede employs bold contour lines, vibrant colors, and graphic details that depict Texas longhorns. The mural alludes to an aspect of the region's history while simultaneously suggesting progress. Installed in an area once dominated by the agriculture and livestock industry, the mural visually suggests the region's rich history. Concurrently, it evinces the expanding municipality of Fort Worth and the concomitant civic buildings that protect the residents of the city.

Depicting residents from the Evans/Rosedale neighborhood engaged in healthy outdoor activities, For Better Life is a representative of Floyd Newsum's animated painting style and underscores the value and fun of family and community engagement. Each of the vibrant, cheery scenes supports the values of excellence and fair play, themes modeled by Hazel Harvey Peace, the important African American educator and community activist for whom the Center is named.

At the turn of the twentieth century, Fort Worth was home to the largest livestock market in the Southwest and the Cowtown" legend became embedded in the city's identity. A longhorn affectionately named "Molly" emerged as the City's official mascot, commemorating the cattle industry's impact on the City's commerce and growth. The sturdy, independent, and highly-adaptable breed has come to symbolize Fort Worth's spirit.

Drawing from the aesthetic history of Fort Worth, Mark Fields uses the same colors of early curbside street sign mosaics - blue and white. The addition of red tiles and the undulating pattern alludes to the presence of nearby Southwest Boulevard (Texas State Highway 183) which linked workers' neighborhoods to the General Dynamics plant, known for manufacturing one of the world's most popular jet fighter: the F-16 Fighting Falcon.

Twelve pairs of bronze boots historic three-quarter fire boots realistically painted are sited at the entrance of the station and compliment text in the windows of the station's tower.

Early Texas describes the expansive and entrepreneurial spirit of the artist's home state. Early settlements, rivers, and native wildlife are delineated by delicate markings of the legendary cattle trails that helped define the economic vitality of nineteenth-century Texas. Modern Texas portrays Fort Worth in the early-twentieth century, focusing on urban life. The central vignette depicts an expansive sky but features the city's prominent skyline and broadened Trinity River. The distant viewpoint implies the future with the potential for growth and prospect for change.The diptych's separation reflects storytelling and how memory and intuition create understanding and perception.

Donald Lipski's signature style of creating whimsical installations from commonplace objects uses metaphor to evoke Fort Worth's unique western heritage. Beloved hats donated by native and 'honorary' Texans celebrate the friendly nature and collaborative spirit of Cowtown. The witty title is both a comment on the passionate attachment cowboys and cowgirls have to their hats and an anagrammatic gesture of thanks to the industrious hat wrangler Garlene Parris.