Author name: Shirley Wagner

This is the moment I’ve been working toward for six months—planning, measuring, re-measuring, and refining every detail until everything aligned.

As I release Alma del Barrio to the community, I want to say thanks to El Rio Health

BREAKING GROUND The first phase of my installation begins with the tractor digging the footing that will anchor the sculpture. Even after years in public art, each project introduces new tools, new technologies and new collaborations that deepen my practice and sharpen my professionalism. Working alongside my crew, engineers and equipment operators reminded me how

LOCATION, LOCATION Choosing the exact location for a sculpture is more than a practical decision, it is about identifying a focal point where the work will both anchor the space and invite community in. It also means coming into scale with the building and the existing traffic lights and utility poles. To get a larger

Powder coat is a fine, pigmented powder that is baked onto metal, fusing into a smooth, durable skin of color. For Alma, this finish is more than protection, it is a luminous veil, turning steel into radiant color, inviting the eye to linger and the spirit to feel. The hues breathe life into the form,

The drawings I made for my powder coat contractor started as functional guides, but they’ve taken on a life beyond their purpose. There’s something intriguing about the mix of precision and creativity—like scientific illustrations that accidentally become art. In their geometry and careful notation, they hold a quiet beauty I didn’t expect.

From 3D to Steel Since 2021 I have been working with my fabricator and artist Jason Butler. Jason follows the structural engineer’s plans by selecting the specified thickness of steel to ensure strength and stability. He transforms every calculation into a precise structure that serves the engineer’s vision for safety and durability. Any welder can weld

To enrich this project, I invited an oral historian to record the voices of community members that will transform the sculpture into an immersive experience.

Because of the sheer mass of Alma (13′ tall), I must consult with a structural engineer.

Going from 2D to 3D Working from my drawing, I begin building a three dimensional model. I like working with cardboard because it is easy to cut. Working on a turntable, the model can take a few weeks to develop. I know the figure is complete when my eye moves fluidly across and around the