In the heart of Denver, beneath the Speer Boulevard viaduct, lies the iconic mural titled ‘Confluent People,’ created by the renowned artist Emanuel Martinez between 1999 and 2000.
This expansive artwork, stretching over 10,000 square feet, features a series of figures all adorned with sunglasses that reflect images pivotal to the city’s local history and culture.
However, over the past 25 years, the mural has experienced significant wear and tear, marked by fading colors, bubbling paint, and occasional damage from pigeon activity.
In response to its deteriorating condition, Martinez has tirelessly advocated for funding to restore the mural to its original glory.
Now, thanks to Denver Arts and Venues, which oversees the city’s public art collection, an investment of approximately $70,000 is being made to refurbish this prominent piece of public art.
With several assistants, Martinez has begun the restoration process, which involves retouching the mural and applying protective coatings to enhance its longevity.
Jeannene Bragg, the public art director for Denver Arts and Venues, spoke highly of Martinez’s contributions, stating, “Emanuel is one of the leaders of a generation of Chicano muralists who catalyzed and characterized the spirit of that movement in the late-’60s and ’70s.”
Bragg emphasized that many murals in the city are community-oriented, created by local artists and depicting the narratives and history of the community itself.
Lucha Martinez de Luna, Martinez’s daughter, highlighted the importance of preserving such legacy murals, stating, “The idea of the project is essentially to preserve the historic and legacy murals that began in the late sixties here in Colorado.”
The mural preservation effort raises a crucial question: what does it take to maintain such artworks?
Denver boasts a collection of 81 murals within its permanent “1% for Public Art” program, which also encompasses mosaics and other forms of public art beyond traditional wall paintings.
Established in 1988, this initiative dedicates 1% of any capital improvement project exceeding $1 million to fund public artworks.
Contrary to some beliefs, Martinez asserts that murals can endure for long periods if they receive proper care.
“In the last 10 years or so, a new protective coating has been developed and used in murals throughout the country, called Mural Shield,” Martinez explained.
He further noted that they will apply Mural Shield followed by Graffiti Guard, which together will minimize fading, chipping, and staining while simplifying the cleaning process.
These protective measures are expected to last at least 50 years.
Bragg underscored the significance of maintenance, noting that the city allocates approximately $350,000 each year for the upkeep of its diverse public art collection, which includes over 500 different pieces.
The collection is managed by a full-time staff member, alongside specialized contractors who assist in maintenance.
“While maintenance is an ongoing responsibility, I don’t believe the artworks in the Denver Public Art collection are any harder to maintain than any other collection with a variety of pieces and materials,” Bragg stated.
She acknowledged that outdoor art is susceptible to damage from harsh weather and other accidents, but assured that the city holds insurance for such incidents.
However, Bragg also revealed that graffiti and vandalism have surged in recent years, increasing the city’s maintenance workload.
“This is a challenge faced by many cities, and we’re actively working to address it,” she added.
As the restoration progresses, Martinez and his team, which includes local artists Diego Florez and Bianca Maestas, are making headway.
Freshly painted sections contrast with areas affected by years of UV exposure and water runoff.
Martinez explained his preference for repainting larger sections instead of merely retouching faded areas, believing it yields better results in color matching.
Their efforts also serve a mentorship purpose.
Maestas has a deep connection with Martinez, citing him as a pivotal figure in her early artistic development when she was just a child exposed to muralism for the first time.
“I think that’s really beautiful,” Martinez de Luna remarked, emphasizing the importance of passing down the tradition of mural storytelling to emerging artists.
The mural itself, which reflects a diverse array of cultures, seems to deter graffiti.
Martinez attributes this respect for the artwork to its inclusive presentation of all peoples who have historically called the area home.
The predominate location of the mural is significant, too, as it is near the site where the Southern Arapaho and Southern Cheyenne lived, linking the past and present at the confluence of Cherry Creek and the South Platte River.
Martinez elaborated on the symbolism in the mural: an indigenous figure’s glasses depict teepees, a Mexican figure’s glasses reflect adobe settlements, while a white figure’s glasses showcase log cabins— all facing west.
Martinez de Luna pointed out, “They’re all facing west, which a lot of people don’t notice.”
The mural also celebrates modernity on the opposite side, where young people are depicted participating in activities such as biking and kayaking, bridging historical context with contemporary culture.
In addition to human figures, animals like beavers, foxes, great blue herons, and a bald eagle are woven into the mural’s narrative.
As Martinez de Luna poignantly stated, “These murals are vestiges of the past.”
The importance of this visual storytelling form is undeniable, and both the restoration and preservation of murals like ‘Confluent People’ remain crucial for maintaining cultural heritage.
Efforts to protect and celebrate these legacies ensure that future generations will continue to experience and learn from the rich history encapsulated in public art.
image source from：denverite
