Today we’d like to introduce you to Sara Velas.
Sara, please share your story with us. How did you get to where you are today?
Since I was very young, I enjoyed drawing and making art. I grew up in Los Angeles and have long been obsessed with its architectural history. Some of my earliest memories involve riding in the back seat of my parents’ Volvo, pouring over the Thomas Guide (a 20th-century map guide!), looking at how the streets and freeways of “The Southland” formed curious patterns. Some of the super-interesting sections of the maps were where there were “anomalies” – areas like LAX, nature parks and wetlands, where the maps had more unusual markings than the rest of the pages had. The very best place on the map was the depiction of Disneyland. While most areas of the Thomas Guide were fairly dry and pictureless, the pages which showed Disneyland had whimsical rides drawn in. How special that this section of the map got illustrations!
A deep interest in the early development of Disneyland along with a yearning fascination for features of the park which have now disappeared – oh how I wish to have been able to see the Monsanto House of the Future! – Led me to explore the 19th-century tradition of World’s Fairs and international expositions. This is how I first learned of the 360-degree artform of the Panorama.
A classical panorama is a completely immersive experience and offers a scripted two- and three-dimensional experience with a simulated landscape. To experience a panorama, a visitor goes to a ticket office, purchases admission and travels down a dimly lit hallway before ascending a circular staircase. At the top of the stairway, the visitor finds themselves in the center of a far-off place like Constantinople, amongst the ancient ruins of Rome or in the midst of the Polish “Battle of Racławice.” Used extensively as a travel “substitute,” in the 19th century this art form flourished throughout Europe and the United States. Panoramas were structured as money-making businesses, operating in a way that is somewhat comparable to the film industry of today.
In the year 2000, I was driving down Hollywood Boulevard and saw a curious, round building with a blue pointed roof topped by an orange globe and surrounded by lush palm trees, though looking a bit neglected and vacant. I knew I had to make a panorama in this building – and so I did! I took this opportunity to establish the Velaslavasay Panorama – a nonprofit institution focused on creating re-interpretations of immersive, 360-panoramic paintings. This project unites several of my key interests: architecture, travel, landscape, tourism, the history of Los Angeles and reframing how the public experiences art.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
As it seems to be with anything cultural or artistic, funding is a huge hurdle and a key piece of survival. It often feels like we are constantly treading water to keep a bare minimum existence going. Though this has long been the case, I see an increase in financial pressure for so many artistic projects and small institutions in our city. It is the result of the rapidly rising cost of living in Los Angeles, and the intense amount of development is happening in recent years. These issues affect everyone, and I worry for the neighborhoods, buildings, businesses, and restaurants that will fall by the wayside as a result of the changes in economic sustainability for an average citizen.
Alright – so let’s talk business. Tell us about Velaslavasay Panorama – what should we know?
Thus far, the Velaslavasay Panorama has created and displayed two complete 360-degree panoramic installations since we began in the year 2000. The first 360-degree painting I created was “Panorama of the Valley of the Smokes” – a depiction of what the Los Angeles area might have looked like 200 years ago. This panorama remained on view at the Hollywood Boulevard location until we were forced to relocate due to the sale of the property in 2004. The Tswuun-Tswuun Rotunda at 5553 Hollywood Boulevard was torn down soon after.
Fortuitously, we were able to find a new home in the Union Theatre – one of the earliest purpose-built movie theaters in Los Angeles, built by architect Frank L. Stiff. In 2007, we debuted “Effulgence of the North,” a nocturnal polar landscape with hallucinatory iceberg sculptures presented with a 35 minute sound and light cycle for an otherworldly journey to an Arctic of the imagination. It took two years to plan and paint the panorama and prepare the space for the installation.
On June 1st, 2019, we will debut our third major 360-degree work – “Shengjing Panorama” – a collaboration with three masters of panorama painting from China – Li Wu, Yan Yang, and Zhou Fuxian. In development for over five years, I created this project with Ruby Carlson, Guan Rong, Rastra Contreras and Andy Cao of the Velaslavasay Panorama. The installation will feature an immersive multi-channel sound cycle by artist Moritz Fehr, a day-to-night light cycle by lighting designer Chu-Hsuan Chang, sculptures by artist Anna Tanner and models by artist Bridget Marrin.
While China has produced over a dozen, major 360-degree panorama paintings since 1989, this is the very first time one of their works will be displayed outside of China. The Velaslavasay Panorama is proud to host this landmark international collaboration and enthusiastically welcome all to visit every Friday, Saturday and Sunday from 11 am to 5 pm (from June 7th, 2019 onwards)
Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
Though I have been the consistent thread for the Velaslavasay Panorama since its genesis in the year 2000, this project would not be what it is without the strong participation of many collaborators throughout the years. The current core group of people involved includes Ruby Carlson, Andy Cao, and Rastra Contreras.
In general, many of the smaller nonprofits and artistic projects throughout Los Angeles maintain a sense of friendly kinship and collaboration.
Cultural entities in our city that I admire and have collaborated with in various degrees include The American Egypt (http://americanegypt.net), Automata, (http://www.automata-la.org/), Bob Baker Marionette Theater (http://www.bobbakermarionettetheater.com/), Center for Land Use Interpretation (http://clui.org/), Echo Park Film Center (http://www.echoparkfilmcenter.org/), Luis Buñuel Film Institute (https://luisbunuelfilminstitute.com/), Magnolia Tintype (https://www.instagram.com/magnoliatintype/), MODCOM (http://atomicage.org/modcom/), the Museum of Jurassic Technology (http://www.mjt.org/) OneHouse ArtExperience Museum (https://www.onehousearts.org/), the West Adams Heritage Association (http://www.westadamsheritage.org/) and the Zorthian Ranch. (https://zorthianranch.com/).
Pricing:
- Admission is by a Suggested Donation of $7 ($5 Students & Seniors)
Contact Info:
- Address: 1122 West 24th Street, Los Angeles, California 90007
- Website: www.panoramaonview.org
- Phone: (213) 746-2166
- Email: [email protected]
- Instagram: https://www.instagram.com/velaslavasaypanorama/
- Facebook: https://www.facebook.com/velaslavasaypanorama/
- Yelp: https://www.yelp.com/biz/velaslavasay-panorama-los-angeles
Image Credit:
Forest Casey, Larry Underhill, Ruby Carlson, Guan Rong
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