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

Shannon, thanks for joining us, excited to have you contributing your stories and insights. Alright, so you had your idea and then what happened? Can you walk us through the story of how you went from just an idea to executing on the idea

Honestly, I never set out to start a business. I just knew I wanted to be part of something bigger—something creative, something meaningful. I wanted to be an artist, and more than that, I wanted to find a community where I could belong. That’s how I found myself at Building 180—not the company, but the actual hangar on Treasure Island in the San Francisco Bay.

Building 180 was this magical place—40 studios, hundreds of artists, many of them making these incredible, large-scale works. It was a space built for BIG art and big dreams. I started showing up after work, just wanting to help. I’d sweep floors, clean up, cook meals for the crew—whatever I could do to be part of it. Eventually, I learned how to weld. The energy was infectious. People volunteered simply to be part of this creative ecosystem, and I knew I had found something special.

But over time, I started to notice something: so much of the artwork being made in that space was just sitting there, unseen by the world. Monumental pieces that could inspire thousands were stuck in a warehouse. That didn’t sit right with me. So, I started doing whatever I could to change that—building websites, setting up Instagrams, helping write budgets, promoting the work. That was the seed.

In 2015, I began managing a few of the artists from that original hangar—people like Peter Hudson, Katy Boynton, and Joel Dean Stockdill. And by 2016, I officially launched Building 180 as a company. It was a way to give these artists the support they needed—to help their work get out into the world. What started as a passion project turned into a full-service agency for artist management and art production.

We’re still working with many of those original artists today—Marco Cochrane, Joel Dean Stockdill, Peter Hudson, Katy Boynton—and we’ve been lucky to grow alongside them, placing artwork all over the globe.

I didn’t know this would become a career. I didn’t plan on launching a business. I just followed my passion, and that passion turned into a mission. My advice? Don’t do it for money. Do it for love. Show up. Offer what you can. Invest in the people and communities that inspire you. That’s what I did—and that’s how Building 180 was born. I still refer to myself as the magician’s assistant—I’m just here to help the magic happen.

Shannon, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

For those who don’t know me, my name is Shannon Riley, and I’m the co-founder of Building 180, a full-service art production and artist management agency dedicated to helping artists create and share large-scale, impactful work with the world. I’m also the Executive Director and Co-Founder of Paint the Void, a nonprofit initiative born in response to the pandemic, where we commissioned murals on boarded-up storefronts throughout the San Francisco Bay Area. It started as an emergency response to support artists during lockdown, but quickly evolved into a movement—uplifting communities through public art and creating paid opportunities for over 250 local artists.

I came into this field through the back door—sweeping floors at a hangar on Treasure Island called Building 180, which is where our company gets its name. That hangar was home to 40 studios and hundreds of artists, many of whom were creating monumental art, the kind that stops you in your tracks. I wanted to be part of that energy—not necessarily as a practicing artist, but as someone who could support the magic behind the scenes. Over time, I began to help in small ways—managing social media, writing budgets, organizing logistics—and eventually, I realized that the work needed more than passion: it needed infrastructure. So in 2016, I founded Building 180 to do just that.

Today, Building 180 provides a range of services, from art curation and public art consulting, to full-scale fabrication management, permitting, logistics, installations, strategic partnerships, and beyond. We work with both artists and clients—cities, developers, brands, nonprofits—bridging the gap between visionary ideas and real-world execution. We support the artists we represent (like Marco Cochrane, Peter Hudson, Joel Dean Stockdill, and Katy Boynton, among others) by managing the complexities of public art projects—budgets, timelines, coordination with architects and engineers—so they can focus on creating.

What sets us apart is our deep respect for the artistic process and the relationships we build along the way. We’re not a typical agency. We operate with heart, hustle, and a hands-on approach. Our background comes from the studio floor, not the boardroom, and that shapes how we work. We’ve helped place work on rooftops, in city parks, in hotel lobbies, on festival grounds—you name it. Whether it’s a temporary installation or a permanent monument, our goal is to support the art and artist every step of the way.

What I’m most proud of is the community we’ve built. Building 180 has always been about more than business—it’s about supporting people who have something to say through their work. I’m proud that we’ve been able to stay true to our roots, still working with many of the original artists from that hangar, while expanding our reach to support new creators and causes.

If there’s one thing I’d want people to know about our work, it’s that we’re here to bring ambitious creative visions to life—whether that means helping a city commission its first piece of public art, helping an artist navigate a complex permitting process, or just being the person who brings coffee to the build site. We’re the magicians’ assistants, working behind the curtain to make sure the art shines in the spotlight.

Can you tell us the story behind how you met your business partner?

I met my co-founder, Meredith Winner, in one of the most inspiring places I’ve ever known—a massive hangar on Treasure Island called Building 180. It was more than a building; it was a creative sanctuary filled with artists pushing the boundaries of what was possible in large-scale art. We were both drawn to that energy, working side-by-side on monumental projects and bonding over a shared drive to help get this incredible work out into the world.

In 2015, I began managing many of the artists from that original hangar—people like Peter Hudson, Katy Boynton, and Joel Dean Stockdill. In 2016, I officially founded Building 180, and in 2017, Meredith joined me as a full partner. Together, we expanded the vision—offering art production and artist management services that support both the creative process and the logistical challenges of placing big art in public spaces.

Meredith and I bring different but complementary skills to the table—from sales and business development to hands-on production and strategic partnerships. What we’ve learned over the years is that none of this work happens alone. Having support, professional guidance, and true partnerships along the way is essential. It’s what makes Building 180 possible. And it’s why collaboration remains at the heart of everything we do.

Can you open up about how you funded your business?

When it comes to funding my business, the truth is—I hustled. There was no big investor or seed capital. I took on multiple jobs to pay my bills, and I worked for free for artists—not because I didn’t value the work, but because I wanted to build trust, gain experience, and prove I was committed. Many people say yes to free help, but I showed up with intention. I worked long nights, stayed late on builds, and offered whatever I could—cleaning, budgeting, documenting, cooking for the crew. I showed up every single day.

That’s what the artists would say: “Just show up.” So I did. I didn’t give up, even when it meant sleeping on friends’ couches, giving up my apartment, or managing credit card debt. I found other ways to keep the dream alive. And over time, that consistent showing up turned into relationships, and those relationships turned into a business.

Even now, we don’t charge the artists we represent. We charge clients—cities, developers, brands—and we make sure the artists get paid their proper rates. That’s been a core value since day one. I built this by betting on my passion and investing in community. It wasn’t easy—but it was worth it.

Contact Info:

• Website: www.building180.com and www.paintthevoid.org
• Instagram: @building180 @paintthevoidproject @shananariley
• Linkedin: https://www.linkedin.com/in/shannon-marie-riley-5790598/
• Youtube: https://www.youtube.com/@building180

Image Credits

Maximillian Rainey, Masaki Omori, Lisa Vortman