The Spirit of Arizona: Past, Present, and Future

THE SPIRIT

Space artist Robert McCall (see Arizona Highways, September, 1983), whose murals hang in the rarified air of the National Air and Space Museum, the Johnson Space Center, and the Dryden Flight Research Center, takes viewers on a "march of time" in his latest work, "The Spirit of Arizona." The nineteen-by-sixty-foot mural spans the past, present, and future of Arizona. "Our goal," says McCall, who was assisted in the project by his wife, Louise, "was to create a happy, positive mural to symbolize Arizona's optimistic future, and to delight people."

Completed in January, 1986, the huge and colorful panorama dominates the interior of the new building of the Industrial Commission of Arizona near the Capitol in Phoenix.

OF ARIZONA: PAST, PRESENT, AND FUTURE

Using a montage technique, McCall's vision captures aspects of Arizona's heritage, natural resources, significant monuments, cultural diversity, and scenery-along with a vision of futuristic space cities. The entire project required a year and a half to complete, with time out to illustrate a cover and article for Discover magazine.

The mural exudes McCall's positive outlook: "I think almost anything can happen," he says. "We landed on the moon. We will be building space stations and even cities in space. Technology will make that possible.

"Fantastic things can happen."

In McCall's visionary "The Spirit of Arizona," they do.

And this writer was delighted.

Bob and Louise McCall stand beneath their latest mural. In a glorious tapestry saluting conquistadors and cattlemen, the impact of the railroad, the growth of cities, and Arizona's delightful amalgam of citizens, the McCalls have included kachina spirits and a futuristic cityscape complete with space shuttle.

THE MURAL PROCESS:

A. Robert McCall starts the creative work with a rough sketch (foreground). Next, a detailed master study is painted; this mural in miniature defines all aspects of the work for reference and review. Then an acetate grid of one-inch squares is overlaid on the master study and photographed. The result is a 35mm transparency.

B. To draw the mural, McCall projects the 35mm slide onto the canvas from a scaffold in 10-foot by 4-foot segments.

C. Drawing the mural required approximately four weeks.

D. McCall uses an industrial hoist to work on the upper reaches of the composition.

E. To personalize details and obtain accurate reference material, McCall engages a Mexican dance troupe and photographs their performance.

Reviewing and refining images sometimes requires burning the midnight oil.

Actual application of paint to the surface of the mural requires nine months of seven-hour days plus some weekends and evenings.

H. Louise McCall contributes her personal touch.

I. Review and self-criticism is an ongoing process.

J. Posing for a painterly family portrait.

K. The late Harry Kelly, former director of the Industrial Commission of Arizona, contributes his comments as the mural evolves. L. The unveiling ceremony at the Industrial Com-mission building in Phoenix on February 19, 1986, rewards a surprised and delighted audience.