Karl Haendel’s larger-than-life composition for the glass entrance pavilion and escalator landing walls of this station will provide prompts for transit customers to engage with their surroundings and reflect on their daily experiences.
Inspired by the geometric details of the art deco architecture along the Wilshire corridor and in greater Los Angeles, Eamon Ore-Giron’s artwork concept for the glass entrance pavilion and escalator landing walls of this station references the past while looking toward the rapidly changing future of Los Angeles’s streetscape.
Todd Gray’s artwork concept for the station’s glass entrance plaza and escalator landing walls juxtaposes archival architectural drawings by S. Charles Lee and historic photographs of the nearby Saban Theatre (formerly the Fox Wilshire Theatre) with a multicultural selection of iconic textile patterns.
Mark Dean Veca’s artwork concept for the station platform draws from the art deco details of the nearby Wilshire Tower building and the past and present geology of the Miracle Mile neighborhood through stylistic references to barley fields and tar.
Soo Kim’s artwork concept for the station platform cuts and collages her photographs of the dense, urban topography along the Wilshire corridor with images she has captured throughout the world.
Metro’s D Line (Purple) Extension is a three-part rail project that will begin at the intersection of Wilshire Boulevard and Western Avenue, extending westward for about 9 miles with seven new stations.
Fran Siegel’s artwork for this underground station will consist of layered sequences from the surrounding landscape, above and below ground.
Inspired by the idea of transporting the body and mind, and by the station as an excavation site, Ken Gonzales-Day‘s glass-tile mural for the north and south concourse level walls aims to transport transit customers across time and place by immersing them in an environment where images of objects—spanning many cultures, continents and eras—mined from the Los Angeles County Museum of Art’s permanent collection are reproduced at an enormous scale.
Project Description Susan Silton’s We, Our, Us (in progress) expands on her series investigating the historical use of stripes as social and cultural signifiers, and is motivated by the idea of transit stations as shared public spaces. The porcelain enamel steel artwork for the station platform will include three prescient messages in English, Korean and Spanish—the predominant languages of the neighborhood—embedded within multicolor-striped fields to explore individuality and diversity while acknowledging our collective human experience. Artist Statement “My projects interrupt—in subtle and more overt ways and through combinations of humor, edginess and subterfuge—the assumptions we make based on our observations.” About the Artist Locations: Wilshire/Fairfax