Every day, during my extensive ten minute trek to and from Brooklyn College via the MTA bus system, I pass a vibrantly painted mural on Nostrand Avenue and Avenue J. The mural is titled “Junction Hues” and is filled with color-blocked segments and intricate patterns etched inside each image—comprised of a mixture of silhouettes as well as detailed portraits. “Junction Hues” was created by an organization called Groundswell and a collaboration between previous council member Jumaane Williams and Midwood High School. Information such as the description of the mural is omitted, leaving only credit to the lead artist Chris Soria, assistant artist Alexis Mena, and almost two dozen youth artists. Soria is known for his work that he does on murals around the city.
Too often, the mural blends seamlessly into the blur of my mundane schedule and is neglected on my behalf. During my commute, I categorize myself into the heap of millennials who are solely immersed in the world of themselves. I allow my thoughts to wander aimlessly as I plug in my headphones, paying little attention to my surroundings. Art is prevalent in so many aspects of my own life—it is largely exposed to me through technology and a desire to be cultured—that seeing a piece of artwork each day becomes banal. I was always aware of “Junction Hues” existence, yet I didn’t attempt to shift my thoughts towards understanding what was painted on the mural or why it was there. When I decided to scope out the mural on my own terms, I walked around and noticed that most other people did not pay much attention to the artwork either. Looking more closely, I immediately deduced that vines and weeds were growing alongside the top of the mural, some even growing onto the mural itself and overshadowing the painting. The upkeep of the mural is not maintained as well as it should be, causing it to drown in the normalities of everyday life if looked at from afar.
Most of the artwork is painted in colorful wave-like segments to illustrate the notion of the crowd of people that drift in and out of the Junction and is done so through the technique of vague silhouettes and detailed portraits with a skyline in the background. One face has butterflies protruding from the eyes and a different silhouette is a man in a baseball cap walking with a cane. The silhouetted figures all have roots painted at the bottom of their feet, paying homage to one’s identity and symbolizing the growth that each person endures as they ride the waves of life, whereas the portraits always depict someone gazing in a strong-willed manner. The silhouettes enable one to feel as if that figure could be them, ultimately portraying that despite external differences all humans crave related virtuous ideals at their core.
Soria’s purpose was to shed a light on the diverse community in the heart of Flatbush’s area called “The Junction.” A vast amount of people travel through the Junction for various reasons. Each person depicted in the mural has a similar variation of patterns painted, yet no two people have the same set of patterns drawn on them. Similarly, each person has their own unique DNA composition and culture that distinguishes them from others, yet appeals to similar characteristics that they may share with others. This striking artwork allows one to reflect modestly on their identity while trudging through their daily commute.
