In the bustling intersections of Seattle, a unique public art project that has brightened the cityscape for the past six years now stands at a critical juncture. West Seattle artist Desmond Hansen, known for transforming mundane traffic signal boxes into vibrant portraits, is grappling with the weathering effects of time on his urban canvas.

"Most of them are damaged and deteriorating now and have little flaws I need to fix," Hansen reflects on his collection of 75 painted signal boxes scattered throughout the city. "Some of them are outright unrecognizable or gone."

What many Seattle residents don't realize is that this public art initiative has largely been a labor of love, funded primarily from Hansen's own pocket. Despite the project's popularity among locals, who often express delight at discovering these unexpected artistic interventions in their daily commutes, the artist faces significant bureaucratic and financial hurdles. The Seattle Department of Transportation (SDOT) requires Hansen to obtain permits—at his own expense—for each box he paints.

The project's grassroots nature has been both its strength and its challenge. While a small portion of the boxes received external funding, the majority represent Hansen's personal investment in Seattle's cultural landscape. Now, as he contemplates the future of these urban portraits, he's reaching out to the community that has embraced his work.

"I could not fathom stripping some of these down to properly fix them without adequate funding," Hansen explains. His supporters have dubbed it "the coolest public art project people can contribute to," citing the interactive nature of discovering new pieces across the city and watching the collection grow.

As Seattle moves into a new season, Hansen finds himself in discussions with SDOT about the possibility of expanding to new locations while also facing the pressing need to restore his original works. The project stands as a testament to the complex relationship between public art, urban infrastructure, and community support in modern cities.

The artist's original run of 75 boxes has left an indelible mark on Seattle's streetscape, but their future remains uncertain. As Hansen contemplates launching a crowdfunding campaign to support restoration efforts, the project raises important questions about the sustainability of public art and the role of community support in preserving cultural initiatives.

For now, Hansen remains hopeful about the project's future, expressing gratitude to those who supported the initial phase while looking ahead to potential restoration work when weather permits. The fate of these distinctive street corner galleries may well depend on the community's willingness to invest in preserving what has become a beloved part of Seattle's urban fabric.

One more note:

Desmond is also an afficianado of low riders and classic Cadillac luxury cars. He found a 1979 Butternut Yellow Cadillac and completely restored it. But now he needs to sell it. 

• Driven 60,000 miles
• Automatic transmission
• Exterior color: Yellow · Interior color: Yellow
• Fuel type: Gasoline
• 3+ owners
• This vehicle is paid off
• Clean title

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