Winsor Fireform, 17801 International Blvd (2026)

19/08/2026

Some projects remind us that the best public art is a team sport.

“Hypnagogia” now lives in the sensory room of Port of Seattle’s newly expanded Concourse C in SeaTac Airport, a calm woodland scene where travelers can slow down between flights. The 8 by 6 foot piece came together through a partnership between two artists and two fabricators, each bringing a different craft to the same dreamlike vision.

Artists baso and Alex Sandvoss designed the piece. Tieton Mosaic built the glass mosaic field that surrounds it. And the organic shaped deer elements circling the heart of the scene, are where Winsor Fireform came in.

Alex Sandvoss hand-painted the deer on canvas first. Winsor Fireform photographically captured that original painting and fired it into porcelain enamel with organic shapes, translating brushwork into a permanent glass surface fused to steel.

Kiln-fired above 1,400°F, the color becomes a ceramic glass. No ink, no laminate, no coating that can peel or fade. The deer will hold their color and fine detail through decades of foot traffic, daily cleaning, and time, with no restoration needed.

Congratulations to Baso Fibonacci and Alex Sandvoss, and to our friends at Tieton Mosaic. Thank you to the Port of Seattle and its STart public art program for bringing this vision to Concourse C.

If you are an artist or fabricator with a project that needs artwork to live permanently in a public space, we are always happy to be a resource.

If you are looking for amazing artists for your next commission, look no further than baso or Alex Sandvoss. Have a mosaic idea, reach out to the best in the business Tieton Mosaic!

05/08/2026

Interpretive signage can be indistinguishable from public art. Anyone who has made both already knows that.

The two panels bookending Kat Ho’s 80-foot mosaic mural at Kīlauea Point National Wildlife Refuge on Kauaʻi make the case better than we could.

Designed by Tommy and Anita Cook of Gizmo Grafix in collaboration with Kat Ho, they layer Sabra Kauka’s kapa as a backdrop for Ao, the day, with Kahi Ching’s artwork and a few of the first lines of the Kumulipo carrying Pō, the night and the beginning of life. ʻŌlelo Hawaiʻi leads, with interpretation by Kamaka Gallagher and every word reviewed and approved by refuge staff.

Star fields, a compass rose, a voyaging sail, and the gradients of deep ocean across a bathymetric profile of the full 1,500-mile Hawaiian Archipelago, from the 28-million-year-old Hōlanikū to the still-rising seamount of Kamaʻehuakanaloa. Every ʻokina and kahakō exactly where it belongs.

fabricated them as kiln-fired porcelain enamel panels, 92 by 45 inches each, with color fused into glass on steel at over 1,400°F. The fine detail is the whole point, and in porcelain enamel that detail is permanent. The graphic becomes glass, bonded to the steel rather than sitting on top of it.

That is what let this artwork go up at Ka Lae o Wowoni, Kauaʻi’s northernmost point, 180 feet above the Pacific in constant salt air and unfiltered sun, with the frames and mounting system engineered to match.

Built for decades. No restoration cycle, no reprint, no compromise on the artists’ intent.

Mahalo to Kat Ho, Tommy and Anita Cook of Gizmo Grafix, Sabra Kauka, Kahi Ching, Kamaka Gallagher, Kumu Hula Kēhaulani Kekua and Hālau Palaihiwa O Kaʻipuwai, Carol Yotsuda and the Garden Island Arts Council Garden Island Arts Council, Thomas Daubert and Friends of Kauaʻi Wildlife Refuges Friends Kauai Wildlife Refuges, and Kīlauea Point National Wildlife Refuge.

Proud to be a small part of this one.

📷: Hob Osterlund

Placemaking

30/07/2026

A single Abel Alejandre graphite drawing can take five months and 700 pencils. Our job was to make one last for decades on a working transit platform. 🚆

At LA Metro’s Westwood/Rancho Park Station on the E Line, his “Panoramas” series greets more than 10,000 riders a day.

Twelve porcelain enamel panels line the platform, each made of three steel tiles, showing commuters mid-journey from a low, child’s-eye view that pulls you right into the scene.

Here’s the part that makes it permanent:

Alejandre’s imagery was transferred onto heavy-gauge steel and kiln-fired above 1,400°F. The color fuses into a glass surface bonded to the steel. It cannot peel, fade, or delaminate.

On a platform that faces sun, weather, and daily cleaning, that permanence is everything.

Winsor Fireform fabricated all twelve panels plus the custom steel frames that hold them, engineered to match the lifespan of the art itself.

Installed in 2016 and still looking brand new. Decades from now, they still will.

Proud to have partnered with Abel Alejandre and Metro Art on this one. 🎨

📍 Westwood/Rancho Park Station, Los Angeles
Artist: Abel Alejandre | Artist
Commissioned by: Metro Art Los Angeles

DurablePublicArt KilnFired FadeProof

24/07/2026

Avocado. Citrus. Walnut.

Three crops once defined the valley around Hacienda Heights, California. Today they live on in color, fused permanently into a public artwork built to outlast all of us.

Circles of a Ripple by artist James Dinh anchors the open space of the Hacienda Heights Community and Recreation Center. Three curved 28-foot concrete benches carry photographic porcelain enamel panels that interpret the natural and man-made history of the region, each colorway tied to one of those signature crops, all set against a constant silhouette of the mountains.

Winsor Fireform fabricated those porcelain enamel panels. The imagery is kiln-fired into glass and fused to steel at more than 1400°F, so the color is part of the surface and cannot peel or fade. Sun, heat, and decades of daily use will not touch it.

That is what permanence looks like in public art. The story of this valley will still be legible generations from now, with no restoration needed.

Proud to have partnered with artist James Dinh and the Los Angeles County Department of Arts and Culture.

If you have a placemaking project that deserves to last, we are always happy to be a resource.

17/07/2026

Flowers bloom and fade. These will not.

Pollinators keep the Pacific Northwest blooming. Now they have a permanent monument at Sound Transit’s rail stations. Butterfly Garden, a series of five murals by artist Nancy Blum at Sound Transit’s Downtown Redmond and Marymoor Village stations, depicts 11 native flower and plant varieties chosen for one reason: they attract the pollinators that sustain the region’s ecosystem.

We fabricated Blum’s murals in kiln-fired porcelain enamel on steel. At temperatures above 1,400°F, glass pigments fuse permanently into the panel. The result is fade-proof, graffiti-resistant, and engineered for decades in a high-traffic public environment.

Thank you to Nancy Blum and the Sound Transit STart program, including Lucile Chich, for trusting us with this work. If you have a public art project that needs to last, we are always happy to be a resource! And if you are looking for an extremely talented artist, we could not recommend Nancy Blum enough!

10/07/2026

There is a stretch of almost every transit trip that usually goes unnoticed.

At the Irving Park Blue Line station in .chicago, artist turned that overlooked stretch into something people actually look up for.

His installation, titled passin' by; looking up; movin' on, fills those in-between spaces with bold, saturated color and simple, joyful shapes. It celebrates the thousands of riders who move through the station every day, giving a forgotten moment a real sense of rhythm and life.

Riders pass through in seconds, so the palette had to be vivid and high-energy enough to land in that brief window.

Winsor Fireform fabricated the full installation: the porcelain enamel panels, the custom-cut modular shapes, and the engineered mounting system that anchors everything to the station walls. The graphics are fused into glass on steel and fired at over 1400°F, so the color becomes part of the surface itself. No ink to fade, no laminate to peel, no coating to break down.

Color fastness is everything in a space like this. Devening's palette will read just as saturated decades from now as it does today, with no repainting and no restoration.

Commissioned by the with funding from the . Porcelain enamel fabrication by .

If you are an artist or an agency planning permanent public art for a transit or high-traffic environment, we are always happy to be a resource.

08/07/2026

Babe Ruth. Lou Gehrig. Joe DiMaggio. Mickey Mantle.

These legendary players deserve materials as permanent as their legacy. Now they have them.

At Yankee Stadium's Monument Park, their legacy is something fans can walk up to and touch. And touch it they do, every single game.

That daily contact, plus New York's swing from summer sun to winter snow, is punishing on any graphic surface.

Years ago, fabricated the retired-number rounds in kiln-fired porcelain enamel. Season after season, through heat, cold, and constant handling, they still look as vibrant as the day they were installed.

So when the surrounding panels honoring the greats began to fade, the Yankees facilities team asked a simple question: Can we have these in the same material as the numbers?

The answer was yes. Winsor Fireform refabricated the panels in porcelain enamel on steel, fired above 1400°F so the color is fused permanently into a glass surface. No ink, no laminate, nothing to peel, fade, or wash away.

It is built to outlast the elements, the crowds, and the decades. No replacement, no restoration, just Yankee history holding its color for the generations of fans still to come.

This one was a true team effort. US Bronze crafted the bronze elements, and together, bronze and porcelain enamel became the perfect combination of durability and graphic vibrancy. Grateful to the for trusting us with such a storied space.

If you are working on a permanent public installation that needs to look its best decades from now, drop us a line!

26/06/2026

How do you create the look of a hand-set mosaic without it ever having to be restored?

You fuse the image into glass on steel.

The Four Gospels at Calvary Cemetery in Laredo, Texas, feature four-winged Evangelist symbols with the depth and color of traditional tilework. We built it as four custom-shaped porcelain enamel panels, about 40"x40" each, on 16-gauge steel.

Every color is kiln-fired into the surface at over 1,400°F, so the pigment becomes part of the glass itself. No ink to fade. No coating to peel. No grout to crumble.

That permanence earns its keep in South Texas, where triple-digit heat and relentless UV punish ordinary artwork. Decades of that sun will pass over these panels, and the image will hold, with no reprinting and no repainting.

Have a project that needs to last? We are always glad to help.

24/06/2026

Look closely, and you will see that this sculpture is actually three separate pieces. Can't see it? Great!

Argyle-O-Rama is a fantastic piece we fabricated for artist @, whose vision made it what it is. Thank you to the amazing arts team at the , who specified the project for Argyle station. We were honored to fabricate it.

Mayumi's piece blooms in floral forms, with spiraling red ribbons that trace paths of migration through the station and lucky cats welcoming the community. It came together as three welded sections joined with seams so fine they nearly vanish, each one routed so it never crosses a graphic element.

Getting 1,400 pounds of artwork into a busy transit station takes more than good welds. We cut the panels on our CNC laser into fully organic shapes, custom-matched every saturated spot color to Mayumi's specifications, and engineered the mounting and backers so the piece can almost rest against the wall like a kickstand. Those are the real-world details we solve here at Winsor Fireform.

Because the color is kiln-fired into the steel at more than 1400°F, it becomes glass fused to the panel. It withstands heavy daily ridership, constant cleaning, graffiti, and solvents, with no fading or peeling for decades.

If you are planning permanent public art for a high-traffic space, we are always happy to be a resource!

09/06/2026

How do you wrap a vintage can label around a curved steel form so it lasts a century outdoors?

That was the question behind one of our favorite recent projects in City of Palo Alto. This project let us show off two of the hardest things to do in porcelain enamel graphics:

1. Curved steel cans wrapped in vintage label graphics
2. Transparent enamel colors layered over a background design

The historic Bayside Cannery at 340 Portage Avenue (newly renamed Thomas Foon Chew Avenue) just reopened, and Volume Inc. designed two interpretive installations honoring founder Thomas Foon Chew, the Chinese immigrant who built the third-largest cannery in America during the Exclusion era.

For the can sculpture totem spelling out "Bayside Canning Company," we fired the asparagus label art onto fully formed, rounded steel. The glass follows every curve with full graphic fidelity. Custom shapes and curved surfaces are where kiln-fired porcelain enamel outperforms everything else.

The exterior totem design then called for transparent enamel colors over a background layer, creating a depth that printed or laminated graphics can't match. Fired at over 1400 degrees, the color is inorganic glass fused into steel. No fading, no peeling, ever.

A century from now, Chew's story will still be there, as vivid as the day it came out of the kiln.

Thank you to @, , , and .

If your project calls for permanent graphics on curved forms, custom shapes, or custom color that lasts generations, we are always happy to be a resource.

Monday	07:00 - 16:00
Tuesday	07:00 - 16:00
Wednesday	07:00 - 16:00
Thursday	07:00 - 16:00
Friday	07:00 - 16:00

Winsor Fireform

19/08/2026

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