Bob Haozous

Bob Haozous’ installation on the stadium’s North Tower is assembled from four 24-foot-diameter painted steel discs. Although inspired by symbols that are part of his Warm Springs/Chiricahua Apache heritage, Haozous believes that the forms and colors of the artwork have universal meanings.

Specifically, the artwork is intended as a constant reminder of our deep connection to the earth. According to Haozous, the lowest disc, depicting a stylized cityscape, represents our contemporary, man-made world. The green disc above it symbolizes life and growth, but its human figures are flying away, suggesting the loss of man’s direct tie to nature, or in a more hopeful reading, a return to those ties. The third disc honors the sun, highlighting our dependence on the natural world and the redemptive powers of nature. The top disc is a collection of man-made clouds, meant to suggest the immensity of the natural environment.

Cheryl dos Remédios

The Stadium Suite, 2001 - Eight electrostatically-printed vinyl banners, each 16 feet high by 6 wide

James Lavadour

Standing Among Ghosts, 2001 - Assemblage of paintings (oil on board) with an overall dimension of 8 feet 8 inch by 14 feet

James Lavadour's invented landscapes pay homage to the deserts and mountains of his homeland in northeastern Oregon. The paintings depict the drama and mystery of the Columbia Plateau with its vast horizons, drifting smoke and fog, basalt layer canyons and undulating plains. From a distance, each of the small panels that make up the larger work looks almost photographic. Upon closer inspection, one realizes that these are action paintings - the record of a vigorous physical activity.

The title, Standing Among Ghosts, is a reference to a speech attributed to Chief Seattle in the 1855 Port Elliot Treaty, “…when your children’s children think themselves alone in the field, the store, the shop, or in the silence of the pathless woods, they will not be alone…At night when the streets of your cities and villages are silent and you think them deserted, they will throng with the ghosts that once filled them and still love this beautiful land.”

Juan Alonso

Four Zones: Northern, Southern, Eastern and, Western, 2001 - Four paintings (acrylic and polymer on panel), each 6 foot high by 10 foot wide

Juan Alonso’s project for the South Club Lounge is a group of four paintings, each composed of five panels. Assembled, the panels form images of large, stylized flowers. Alonso manipulates his paints as thick pastes, making the paintings dense, rich and three-dimensional. The artist’s intention is that the paintings will provide points of calmness within the busy atmosphere of the Club Lounge – a visual time-out during the busy pace of a game day. By way of inspiration, Alonso credits Cuban tile designs, Japanese screen paintings and the work of photographer Karl Blossfeldt (an early 20th century photographer of plant forms).

Peter Shelton

rockshadow, 2002 - Granite boulder and cast bronze sculpture, each object approximately 12 feet tall and 7 feet in diameter

Peter Shelton’s artwork is composed of two related objects: an enormous granite boulder and a “shadow” of that boulder cast in bronze. These two objects are placed in relation to one another as though the boulder has recently shed its skin. Shelton thinks of the artwork as a physical exploration of the difference between the inside and outside of an object, and by extension, interiors and exteriors, private life and public life, the positive and the negative. This installation in the West Plaza presents not only a relationship between two objects, but also a thoughtful way to articulate architectural space and a playful exploration of scale.