https://www.osirisrainstudios.com/home daily 1.0 2026-10-05 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1706055745933-CUSFABMD1QLCT7HJ13CD/Screenshot+2024-01-23+at+7.21.46+PM.png OSIRIS RAIN STUDIOS https://www.osirisrainstudios.com/news-1 daily 0.75 2026-10-05 https://www.osirisrainstudios.com/start-a-project daily 0.75 2026-10-05 https://www.osirisrainstudios.com/client-testimonials daily 0.75 2026-10-05 https://www.osirisrainstudios.com/about daily 0.75 2026-10-05 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/e7499a1c-8bf6-4fba-9104-e455ca53ddb5/DJI_20250519110158_0176_D.JPG ABOUT OSIRIS RAIN INTERNATIONALLY RECOGNIZED MURALIST AND FINE ARTIST Osiris Rain is an internationally recognized muralist and public artist based in Charlotte, North Carolina. Working at architectural scale, his murals combine classical realism, layered abstraction, and symbolic geometry to explore history, identity, memory, and the relationship between people and the places they inhabit. Rain’s foundation is in traditional figurative painting. He studied at the Angel Academy of Art in Florence, Italy, and later apprenticed with Norwegian painter Odd Nerdrum. That classical training remains at the center of his work, but over two decades his practice has expanded beyond the studio and onto buildings, public spaces, and city walls across the United States and internationally. His public work begins with place. Historical research, conversations with residents, archival imagery, landscape, architecture, and lived experience become source material from which each composition develops. Rather than imposing a predetermined visual language onto a community, Rain looks for the people, stories, contradictions, and symbols already embedded there. The resulting murals move between recognizable figures and abstraction. Portraits emerge from fields of color, geometry, pattern, landscape, and fragmented imagery—allowing a work to function both as an immediate visual experience and as something that reveals itself more slowly over time. Rain is the founder of the North Carolina Academy of Art and a co-founder of the TAOH Outdoor Gallery and Can Jam CLT Mural Festival. His work has received national and international recognition through awards, exhibitions, collections, and publications. For Rain, public art is not simply the placement of an image on a wall. It is an opportunity to make something inseparable from its location—work that could not have been made in quite the same way anywhere else. SELECTED RECOGNITION National Mural Awards National Silver Award — Hitchhikers, 2026 Regional Gold Award — Hitchhikers, 2026 National Bronze Award — From It Sprung the Commonwealth, 2024 Charlotte URBIES People’s Choice Award — TAOH Outdoor Gallery, 2024 Best in the Nest TAOH Outdoor Gallery, 2024 Selected Exhibitions & Collections MEAM — European Museum of Modern Art, Barcelona, Spain National Portrait Gallery, London, United Kingdom Selected Press Fine Art Connoisseur Southwest Art Juxtapoz The Huffington Post Queen City Nerve Selected Grants & Fellowships Creative Renewal Fellowship Artist Support Grant ARTIST'S STATEMENT My work begins with observation. I am interested in the things people carry with them: memory, history, labor, mythology, grief, aspiration, and our relationship with the natural world. I use the human figure as an anchor for those ideas, combining realism with abstraction, geometry, pattern, and imagery drawn from the particular place where the work is being made. My training is rooted in classical painting, and I still approach a face, a hand, or a figure with the same concern for structure, light, and human presence that brought me to painting in the first place. But I am equally interested in what happens when that representation begins to break apart—when an image becomes atmosphere, pattern, memory, or symbol. Public work adds another layer. I enter communities whose histories are not mine, and I take that responsibility seriously. Research and listening are part of the process. I look for the details that carry meaning locally: a person, an object, a landscape, a piece of architecture, a story that survived because somebody kept telling it. I am not interested in illustrating history as a collection of facts. I am interested in finding the human thread running through it. The scale of muralism allows those ideas to become physical. A face can occupy several stories. A small historical object can become monumental. Abstraction can move across architecture and change how a building is experienced from a block away or from a few feet in front of it. The goal is to make work that rewards both distances—something powerful enough to alter a place, but layered enough that a person who lives with it can continue finding something in it years later. — Osiris Rain https://www.osirisrainstudios.com/art-and-mural-usage-faq daily 0.75 2026-10-05 https://www.osirisrainstudios.com/resume daily 0.75 2026-05-22 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/bc4eef65-6f5c-48f4-816c-4e733fa9a0ec/abce0bab-9b9b-4724-8bfa-2242914ee02d_1920x1080.jpeg RESUME https://www.osirisrainstudios.com/hero-banner-maple daily 0.75 2022-12-28 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1672253640121-6Y0E1GIAAJHSYJXVM85T/BASEL-MANA-BUSHWICK.jpg Hero Banner https://www.osirisrainstudios.com/selectprojects daily 0.75 2026-10-05 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791218207007-RY1YIJDB378HNYIJFUSQ/osiris%252Brain_emily_%252Boverlay%252Bcopy%2Bcopy.jpg VIEW PROJECTS - HITCHHIKERS Created in collaboration with artist Emily Ding, Hitchhikers is a large-scale, site-specific mural in downtown Springfield, Missouri, created in celebration of the centennial of Route 66. Located at the former Colonial Hotel site—where the name “Route 66” was first proposed in 1926—the mural draws from the mythology of the American road: movement, freedom, companionship, discovery, and the pull of somewhere beyond the horizon. A young traveler hitchhikes toward Springfield alongside an unlikely group of animal companions. Our individual painting languages move in and out of one another across the composition, combining realism, abstraction, expressive animal imagery, and layered color into a shared visual language. The architecture presented an unusual challenge: the mural spans multiple surfaces across two adjacent buildings. We used forced perspective to turn that constraint into part of the artwork itself. From the Route 66 sign across the street, the separated walls visually align and the composition resolves into a single image. That site-specific approach is central to my public work. Rather than treating architecture as a blank canvas, I look for opportunities to use the history, geometry, sightlines, and character of a place to shape the artwork that ultimately belongs there. 2026 National Mural Awards — Regional Gold & National Silver https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791225484967-LNKMWC8P3JH43GS663MX/CCAD9EAD-93F5-4831-A620-FCF5F3649BC8_1_102_o.jpeg VIEW PROJECTS - FROM IT SPRUNG THE COMMONWEALTH Created for Alta on the Row in Worcester, Massachusetts, From It Sprung the Commonwealth uses the structure of an abstract flower to explore the history, ecology, and identity of Massachusetts. The composition brings together recognizable state imagery—including the American elm, black-capped chickadee, Mayflower, New England Neptune, two-spotted ladybird, and black swallowtail—layering realism with geometry, color, and abstraction. Rather than presenting these elements as individual symbols, they become parts of a larger living form. The project demonstrates how regional history and identity can be translated into contemporary visual language, creating a mural that belongs specifically to its place without relying on literal historical illustration. From It Sprung the Commonwealth | Alta on the Row | Worcester, Massachusetts 2024 National Mural Awards — Bronze https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791218163550-GYIRJMYT78NRBZG3GQ65/DJI_20250528114701_0371_D%2B%281%29+copy.jpg VIEW PROJECTS - ASCENSION Created for the Aiden Kansas City Downtown, directly across from the T-Mobile Center in the heart of Kansas City, Missouri, Ascension is a monumental mural exploring the relationship between humanity, nature, and place. Rising approximately 70 feet vertically across the building, the composition centers on a human figure emerging through native flora and wildlife. Irises, an Eastern bluebird and its nest, and the suggestion of butterfly wings move between realism and abstraction, transforming the figure into something both human and archetypal—an image of growth, protection, transformation, and our connection to the natural world. The history of the building also became part of the work. The property has a reported connection to a young Walt Disney, who is believed to have used a small workspace there during his early years in Kansas City. Hidden among the irises is a field mouse—a subtle reference to that creative history and an element intended to be discovered rather than immediately explained. That layering of site, history, symbolism, and discovery is central to my approach to public art. I look beyond the dimensions of a wall to understand the architecture and stories already present, then find ways for those elements to inform the work without allowing them to overwhelm the larger image. From across downtown, Ascension uses scale and the human figure to give the building an unmistakable visual identity. Up close, smaller details and embedded references create a more intimate experience. The result is a mural that functions simultaneously as artwork, landmark, and an expression of the place it was created for. Aiden Kansas City Downtown | Kansas City, Missouri | SpraySeeMO 2025 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791220162611-MK3L7SDVJ4H9CKPZ6OL4/dji_fly_20250508_203954_752_1747235024911_photo+copy.jpg VIEW PROJECTS - THE SPACE BETWEEN Created for the Bowers Residences during the 2025 South Salt Lake Mural Fest, The Space Between is a two-wall collaboration with Dutch artist Marcus Debie (GOMAD) exploring attraction, distance, creativity, and the ways we reach toward one another. The identity of the property became the starting point for the concept. Bowers Residences takes its name from the bowerbird, a species known for constructing elaborate displays of collected objects, color, and architecture to attract a mate. We used that behavior as the foundation for the mural—creativity itself becoming an act of communication, attraction, and offering. Across two opposing walls, a man and woman inhabit separate but connected compositions. Birds, flowers, butterflies, and sweeping abstract forms surround the figures, creating a visual conversation across the architecture. The figures never touch; their relationship exists in the space between them. Rather than treating the two walls as separate canvases, we designed them as a single experience. Distance, sight-lines, and the physical space between the buildings became part of the composition, allowing an architectural constraint to become central to the story. The project also brought together two distinct artistic languages, combining GOMAD's surreal figurative work with my own approach to realism, symbolism, and abstraction. The result is a site-specific work that gives the development a distinct visual identity while creating an experience that changes as residents and visitors move through the property. Bowers Residences | South Salt Lake, Utah | South Salt Lake Mural Fest 2025 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791218163442-GE4J6LEGRLFOTX23COOV/dji_fly_20250508_204212_760_1747235023050_photo.webp VIEW PROJECTS - THE SPACE BETWEEN https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791218234755-IEXOIOZANM0GAQJSAFQA/Sunhouse%2BFinal+copy.jpg VIEW PROJECTS - BIRDS OF PARADISE Created for Sunhouse Apartments in Hialeah, Florida, Birds of Paradise was commissioned by Mark Kravitz of Jenco Properties, following previous work I created for the company's Aviah Flagler Village property in Fort Lauderdale. The mural transforms a residential façade into a vibrant celebration of South Florida's tropical character. A monumental portrait is surrounded by birds of paradise, butterflies, and lush botanical imagery, with areas of detailed realism moving into bold abstraction and color. The existing architecture became part of the composition. Windows and structural divisions were incorporated into the design rather than treated as interruptions, allowing the artwork to move naturally across the façade. From a distance, the portrait creates an immediate focal point and gives the property a recognizable visual identity; up close, smaller interactions between the figure, flora, and wildlife reveal themselves. The imagery draws from the color, vegetation, and energy of South Florida without relying on a literal depiction of place. The result is contemporary and specific to its environment, bringing warmth and identity to a space residents encounter every day. Birds of Paradise also represents something I value deeply in public and commercial work: long-term relationships with clients who see art as part of the identity of their properties. Each commission is an opportunity to create something distinct to that location while building upon the trust established through previous work. Sunhouse Apartments | Hialeah, Florida | Jenco Properties https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223433407-3QQDX5QULOKJQ80O2IC4/444E7818-176E-4C53-9E39-5F330212FAD9_1_105_c.jpeg VIEW PROJECTS - ARCHITECTURE OF TIME Created for the City of Longmont Art in Public Places, Architecture of Time transforms a downtown municipal parking structure into a four-sided visual narrative of Longmont, Colorado—its landscape, history, people, and continuing evolution. Spanning approximately 5,000 square feet across four sides and twelve architectural faces, the project required a composition capable of functioning across an entire building. Ramps, openings, corners, changing elevations, pedestrian approaches, and vehicle sight-lines became part of the design. Rather than treating each surface as an individual mural, I approached the garage as one interconnected work experienced in motion. The concept considers time as layered rather than linear. Longmont's natural landscape, agricultural history, cultural traditions, and contemporary life coexist throughout the structure, with imagery moving between realism, symbolism, abstraction, and pattern. Historical references emerge and recede rather than following a chronological timeline, reflecting the way the identity of a place is continually built upon what came before it. Extensive research and community engagement informed the work, allowing a broad range of local stories to become part of the composition without reducing Longmont to a collection of historical illustrations. During six weeks of painting downtown, that process continued through daily conversations with residents, workers, and visitors—allowing the experience of making the mural to become part of my understanding of the community itself. Scale was considered from the beginning. Monumental imagery and larger movements of color allow the work to remain legible from surrounding streets and passing vehicles, while smaller references and painted details reward pedestrians encountering the structure at close range. The architecture isn't simply carrying the mural; it determines how the story unfolds. Architecture of Time reflects the potential of civic public art to do more than transform a surface. It can create a landmark, preserve and reinterpret local stories, and give a community a contemporary visual identity rooted specifically in its place. Architecture of Time | City of Longmont Art in Public Places | Longmont, Colorado | 2026 https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223433397-B6S381W7P0YR7LRW0SE9/6CEE621C-7F35-4AB6-B872-95435091AEF8_1_105_c.jpeg VIEW PROJECTS - ARCHITECTURE OF TIME https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223434688-9I0T742IB85LQ21CUHVV/7FFF93AF-0D1C-46D5-9273-2B0CD1CB392B_1_105_c.jpeg VIEW PROJECTS - ARCHITECTURE OF TIME https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791218295156-R250RTI0Y4HRGX4F4516/Novel+Stonewall+Station+right.jpg VIEW PROJECTS - MIGRATION Created for Crescent Communities at NOVEL Stonewall Station in Uptown Charlotte, Migration is a three-wall mural installation exploring movement, transition, diversity, and the changing identity of a rapidly growing city. Three monumental figures rise approximately 80 feet through the development's central courtyard, connected by monarch butterflies moving across the architecture. The monarch became the central symbol of the work: a species defined by migration and transformation, and a reflection on the fundamental human experience of movement—leaving one place, arriving in another, and becoming part of a changing community. Created during a period of extraordinary growth in Charlotte, Migration considers what happens as new people, cultures, and experiences continually reshape a city. The figures are intentionally quiet and contemplative, while the monarchs move between them, connecting three separate walls into a single visual narrative. The scale and configuration of the courtyard required the murals to work both individually and collectively. Rather than treating the three façades as independent surfaces, I designed them as one environment, using repetition, movement, and sight-lines to create relationships across the architecture and an experience that changes as residents move through the property. The work became a defining feature of the development. In an interview with Bisnow, Crescent Communities noted that prospective residents were specifically requesting apartments with views of the murals—an unexpected but meaningful example of how integrated public art can shape the identity and experience of a residential property. The commission also began an ongoing relationship with Crescent Communities, leading to additional projects and reinforcing something I value in public and commercial work: creating art that becomes part of how people understand, remember, and connect with a place. NOVEL Stonewall Station | Charlotte, North Carolina | Crescent Communities https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791220428038-4KJ0YFPU0VU3RI5114Z0/THE%2BFRANCIS%2BLUXURY%2BAPARTMENTS%2B-%2BCHARLOTTE%2C%2BNC.+copy.jpg VIEW PROJECTS - MIGRATION II https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791220428218-9D9MUBSRAH25T538IQFD/Panel+A+Novel+Final.jpg VIEW PROJECTS - MIGRATION https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223924413-762XEVK87C0JJQRQLRBU/IMG_3537.JPG VIEW PROJECTS - DESERT CHORUS Created for Crescent Communities at NOVEL Rio in Tempe, Arizona, Desert Chorus is a series of nine site-specific murals woven throughout the multifamily development, creating a visual identity that unfolds as residents move through the property. Inspired by the color, ecology, and energy of the Sonoran Desert, the series combines portraiture, native flora and wildlife, geometric abstraction, and saturated color. Each mural was designed as an individual work while sharing a common visual language—allowing the nine pieces to function collectively as one larger experience. Rather than concentrating the artwork on a single feature wall, the commission placed murals throughout the complex. Courtyards, passageways, architectural recesses, and shared spaces became opportunities for discovery, allowing the artwork to become part of residents' everyday experience of the property. The title Desert Chorus reflects that relationship: nine distinct compositions, each with its own voice, contributing to a larger sense of place. The project also presented a range of architectural challenges, from tall, narrow walls enclosed between buildings to highly visible communal spaces. Each composition was developed around its specific location, sightlines, proportions, and the way people would encounter it—demonstrating how a cohesive art program can respond to very different spaces without becoming repetitive. Desert Chorus was created as part of an ongoing relationship with Crescent Communities, following Migration at NOVEL Stonewall Station in Charlotte. The repeat commission expanded that collaboration from a monumental three-wall installation into a property-wide art program, demonstrating how site-specific artwork can become an integral part of a development's identity and resident experience. Desert Chorus | Nine-Mural Series | NOVEL Rio | Tempe, Arizona | Crescent Communities https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223924413-PYUEOR0XYMKJRHTTAFVH/IMG_3540.JPG VIEW PROJECTS - DESERT CHORUS II DESERT CHORUS https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791223925776-IPAV1RUYV0E7G9KT4LL4/NOVEL+RIO.jpeg VIEW PROJECTS - DESERT CHORUS III https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791220929731-ZNS9FZCEL2TI5FCYLP9Z/Osiris+Rain+UNCC+2nd+Floor+copy.jpg VIEW PROJECTS - CALL AND RESPONSE Created for UNC Charlotte's Center City campus in Uptown Charlotte, Call and Response is a pair of interconnected murals designed around the exchange of ideas at the heart of a university. Commissioned for two separate interior spaces—one at street level and another two stories above—the murals were conceived to function independently while remaining in visual and conceptual conversation with one another. Both are visible from the street, extending that dialogue beyond the interior of the university and into the surrounding city. The title comes from the tradition of call and response: one voice offers something, another answers, and meaning develops through the exchange. Within an educational setting, that became a metaphor for open dialogue and the importance of encountering perspectives different from our own. Education is not simply the transmission of information; it is a conversation. The architecture gave that idea a physical form. Rather than treating the two locations as unrelated walls, I used their separation to reinforce the concept. The distance between the murals becomes part of the work, with each piece acting as both an individual composition and a response to the other. The commission was developed through close collaboration with UNC Charlotte, translating the University's concepts and feedback into artwork that could serve both as a public-facing presence and an internal focal point for the Center City campus. That process reflects an important part of my institutional work: listening to what a client wants a space to communicate, then finding a visual language that can express those ideas without simply illustrating them. UNC Charlotte Center City | Charlotte, North Carolina https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791221363689-CE5DE8K4S64D7TEQA2XX/Screenshot+2026-10-05+at+1.27.34%E2%80%AFPM.png VIEW PROJECTS - WINDOWS OF PERCEPTION Created for CBI in Charlotte, North Carolina, the Windows of Perception is a nearly 100-foot-long mural designed to transform the exterior of the company's headquarters into a large-scale expression of identity, perspective, and connection. The concept draws from binocular vision—the way two separate viewpoints come together to create a single dimensional image. That idea became both the visual and conceptual framework for the mural, reflecting the way individual perspectives can overlap, interact, and ultimately contribute to something larger. Across the façade, figurative imagery moves through geometric forms, abstraction, and shifts in scale and perspective. From a distance, those elements come together as a unified composition; moving alongside the wall reveals individual moments, details, and relationships that are less apparent from a single viewpoint. At nearly 100 feet in length, the architecture itself became an important part of the design process. Rather than simply enlarging an image to fill the available space, the composition was developed around how the wall would actually be experienced—at different distances, from different angles, and in motion. The CBI Art Wall reflects an important part of my approach to commercial and architectural commissions: understanding the identity and ideas behind a client or space, then translating them into an original work that can communicate beyond branding alone. The result is a mural specific to CBI and its architecture while functioning independently as a piece of public-facing artwork—a once-utilitarian exterior transformed into a recognizable visual landmark. CBI | Charlotte, North Carolina | Designed & Painted by Osiris Rain https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791221363615-EKVQXBV186RSH3IJDXA1/Screenshot+2026-10-05+at+1.27.19%E2%80%AFPM.png VIEW PROJECTS https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791224683208-KAWOEPI1GBBRV8GRDK3D/IMG_3130.jpeg VIEW PROJECTS - URBAN RHYTHM. Created for Link Apartments® 4th Street in downtown Winston-Salem, North Carolina, this series of murals uses bold geometry, color, and abstraction to create a visual identity integrated throughout the residential property. The compositions respond directly to the architecture, using shifts in scale, pattern, and movement to activate transitional and shared spaces. Rather than relying on a single feature wall, the artwork becomes part of the experience of moving through the development. The project demonstrates how abstract work can function as both artwork and placemaking—giving a multifamily property a distinctive character while remaining connected to its architecture. Link Apartments® 4th Street | Winston-Salem, North Carolina https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791224683199-HI5DACX3TK1AM5E2WOMR/IMG_3132.jpeg VIEW PROJECTS - URBAN RHYTHM. https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791224684717-XXCKV5MLBIQQV4Z4IONX/IMG_3133.jpeg VIEW PROJECTS - URBAN RHYTHM. https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791225104764-P91XDZRIZU8D3OMOKN5C/IMG_7006+copy.jpg VIEW PROJECTS - TIDAL GEOMETRY Created for CubeSmart Self Storage in Virginia Beach, Virginia, Tidal Geometry transforms a large commercial façade into a distinctive visual landmark inspired by the coastal environment. A sea turtle and surrounding botanical forms are broken into overlapping planes of color, geometry, and abstraction, creating an image that remains bold and recognizable from a distance while revealing greater complexity up close. Designed specifically for the architecture and its highly visible location, the mural demonstrates how site-specific artwork can give an otherwise utilitarian building a memorable identity, strengthening its connection to the surrounding community and landscape. Tidal Geometry | CubeSmart Self Storage | Virginia Beach, Virginia https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791225106024-NWUUEZKXG336YRERZ2O6/DJI_0006+copy.jpg VIEW PROJECTS - DREAM OF THE ARBOREAL URSINE Created for the City of Newton, North Carolina, Dream of the Arboreal Ursine is a monumental 35-by-85-foot mural that uses abstraction, symbolism, and regional imagery to explore the identity of the community. The composition weaves the forms of a bear and tree through geometric patterns inspired by traditional quilt designs, alongside cardinals, vegetation, and references to the surrounding landscape. Rather than illustrating Newton's history literally, these elements emerge and disappear through layers of color, pattern, and movement. Developed through research and community engagement, the project demonstrates how abstraction can remain deeply site-specific—transforming local history, landscape, and cultural traditions into a contemporary visual language. Dream of the Arboreal Ursine | City of Newton | Newton, North Carolina https://images.squarespace-cdn.com/content/v1/5be99fd896e76fa751de180a/1791225104802-WAMYMERIT4KBFP6FJQPI/.jpg VIEW PROJECTS - DOGWOOD DISCO Created for the Imperial Center in Durham, North Carolina, Dogwood Disco transforms familiar symbols of the state’s natural landscape into a vibrant, contemporary composition. Dogwood blossoms and the Eastern tiger swallowtail move through layers of saturated color, geometric abstraction, and organic forms. Rather than depicting the landscape literally, the mural breaks these recognizable elements apart and reassembles them through rhythm, repetition, and movement—giving the work its playful Disco identity. Designed specifically for the surrounding research and technology campus, the project brings an unexpected burst of nature and color into the built environment, demonstrating how abstraction can create a strong sense of place while responding directly to its architectural setting. Dogwood Disco | Imperial Center | Durham, North Carolina