We caught up with the brilliant and insightful Patricia Araujo a few weeks ago and have shared our conversation below.

Patricia, looking forward to hearing all of your stories today. Can you talk to us about a project that’s meant a lot to you?

I’ve had several memorable projects I’ve been a part of and one that has stayed with me through the years has been painting (in oils on canvas) the statue of Pacifica and forgotten monuments of the Golden Gate International Exposition, also known as the GGIE– the last world’s fair of San Francisco Bay!

The GGIE was held in 1939-40 at Treasure Island, located between San Francisco and Oakland. The fair’s purpose was to promote peace and international cooperation; it was also a celebration of San Francisco’s two new bridges – the Bay and the Golden Gate – which launched the city’s role as the “gateway to the Pacific”. The theme of the fair was pacific unity.

I was particularly intrigued by the architectural beauty of this exposition, which blended Pacific Basin aesthetics (Mayan, Incan, Cambodian) with contemporary Art Deco and Bauhaus styles. The fair was renowned for its night-time illumination, using innovative lighting to turn the buildings into a “mirage of magnificent monuments” with glowing, vibrant colors.

In 2005, I painted my first piece, titled “Magic City”- featuring the façade of the Arch of Triumph that stood at the Court of Reflections. My intent was to re-capture an enchanting scene of this illuminated arch set against a copper red sky. I was fascinated by the arch form as I’ve painted arches before and this one stands out on its own and offers a wondrous joy and mystery. From this first image, it opened me to explore more about the GGIE and the beautiful monuments to create a new series. And especially after visiting an exhibition some years after for the 70th anniversary of the GGIE that was held at the Presidio – I noticed that the blown-up photos of the fair were blurry and without the sharp illumination that truly captured the Magic City. I knew it was important to paint and commemorate these prominent sites.

I was especially inspired by Ralph Stackpole’s colossal statue of Pacifica- the iconic figure of the fair, representing world peace and Pacific unity. She was 80 feet tall. Her hands were shown in a universal open palm greeting, and her skirt was embellished with abstract musical instruments. Once erected for the fair, she stood at the Court of Pacifica, a goddess in white, and lit by colors at night!

As the war in Europe heated up, various participating countries had to close their exhibits, and the GGIE could not be sustained. The fair closed on September 29th, 1940, and many of the sites were destroyed, including the statue of Pacifica.

In this homage, several of my paintings feature the evolution of her painted face, from start to finish. Even though I’m using the same rigid lines of the sculpture, Pacifica comes to life in different ways by applying different color palettes, like make-up. She can serve a futuristic robotic to old world mystic look, with the emotions ranging from the strong and diplomatic to a soft understanding welcoming, just like that of the Statue of Liberty. They’re hypnotic, dream-like portraits.

Since 2014, I attended monthly lecture series held by the Treasure Island Museum at Treasure Island and participated in several of their events relating to the GGIE and during the annual San Francisco History Days at the Old Mint. I collaborated with the Treasure Island Museum on a poster featuring one of my paintings of the statue of Pacifica, titled “Tribute to Pacifica”, taken from the illustration that beautifully graces the cover of the original brochure of the Golden Gate International Exposition of 1939. Si Vanderlaan, who painted pin-ups, did the cover for this brochure in 1939 and is a beauty!

During an event at Treasure Island Museum, I met book author Christie Nelson, and with great excitement, Christie shared with me that she had been writing a novel for the last decade about this magnificent fair. We instantly connected and cultivated a dear friendship. In 2018, she published “Beautiful Illusion, Treasure Island 1939,” a historical novel based on the Golden Gate International Exposition. It was such a kind gesture that she included one of my images of Pacifica on the book’s back cover.

In 2019, Christie Nelson and I collaborated in various events and talks, celebrating the 80th anniversary of the GGIE at Treasure Island Museum and culminating in an art exhibit that same year titled “Illusion and the Magic City”- featuring original souvenirs, photographs, and ephemera from the collections of the San Francisco History Center at the Public Library. Incorporated into the exhibition were a selection of my oil paintings of Pacifica, as well as excerpts taken from Christie Nelson’s novel “Beautiful Illusion”.

This was an amazing experience to come full circle and to showcase my paintings there. The SF History Center curator and staff were a delight and the most organized team I’ve ever worked with. We spent several months planning for this exhibit and making it cohesive with the library’s collection of archives and photos. It was a dream of a project and an unforgettable exhibition.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

About my paintings:
While living in San Francisco’s SoMa (South of Market), I witnessed the changes taking place in this redeveloping neighborhood and found myself enchanted by the rich architectural history of that area and the decayed beauty that remains. My fascination with domes, towers, sacred and municipal structures began with daily observations of the Golden Gate Theatre at Sixth and Market. Since the late 1990’s, I’ve painted in oils on canvas the facades of both iconic city landmarks and downtown buildings and continue to incorporate them into my new works.

In my cityscapes, I sense the presence of the silent stage uninterrupted by inhabitants. These paintings highlight the exteriors of complete structures and also depict architectural fragments. Their style is largely abstract. Playfulness of forms, juxtaposed against painterly skies. Painted by bright colors opposing to its usual grey fog and in the hopes to bring an uplift.

From 2008 to 2010, I dedicated a series of works relating to an imaginary Tomorrowland and as of most recent I’ve devoted to painting the architectural wonders and forgotten treasures of the GGIE (the Golden Gate International Exposition of 1939 at Treasure Island) – the last World’s Fair of San Francisco Bay. My interest in researching the urban landscape continues to grow, addressing the evolution and decay within a city. And as of most recent, I exhibited in Bogota, Colombia for a solo show of new paintings depicting the architecture and landmarks of Bogota.

My bio
I was born in Miami, Florida, the daughter of Colombian parents. My father was an architect at Walt Disney and during his last years he assisted with the development of Epcot Center. I grew up in Bogota Colombia, and since childhood I was enchanted by architecture and form. After completing High School in Bogota, I moved to Northern California to pursue my college education. I studied Architecture, Painting and Photography. In 2005, I obtained B.F.A in Painting from the San Francisco Art Institute.

I’ve been exhibiting in San Francisco since 1998. Some of the venues include: Arc Gallery, Arttitud, HANG ART, Roll Up Gallery, STUDIO Gallery, the Old Emporium, SF Public Library, the Tenderloin Museum, and at the Old Mint with Treasure Island Museum. In 2008, I published my first book, entitled ”SOMA SEEN”. My work has been written about in the San Francisco Chronicle, ARTslant, 7×7 SF, Huffington Post, 48 Pillars, Examiner, Beyondchron, and the San Francisco Bay Guardian.

Art & flowers:
Being an artist can be a juggling act, working different jobs to complement the time to paint. It’s always been that way for me. I run a flower import company in the mornings, which my mom founded in 1986. And just like flowers, so is my work schedule. I work seasonally with my paintings, planning my exhibitions, while also running a business at the SF Flower Market. My art studio is in Sausalito and I continue to exhibit annually in San Francisco.

Can you tell us about a time you’ve had to pivot?

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Can you share a story from your journey that illustrates your resilience?

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Contact Info:

• Website: https://Patricia-Araujo.com
• Instagram: patriciaaraujoart
• Facebook: PatriciaAraujoPaintings
• Linkedin: patricia-araujo
• Twitter: ametropolis

Image Credits

Artworks by Patricia Araujo. There’s a photo that features artist Patricia Araujo, photo credit: Tanya Constantine, 2018. There’s another photo of Patricia taken while painting a mural on a wall at Arttitud, in San Francisco, photo credit: Anne Schnoebelen, 2015.