The Coliseum of Art · Summer 2026

A.R. Ceiling Install and Traditional Art Location

The video demonstrates a proof-of-workflow for the AR installation system. Physical paintings function as image triggers, activating overhead 3D artworks viewable through cross-platform mobile augmented reality.

The replicated interior environment visible in the recording is a reduced-scale modeling space used solely for positioning, scale testing, and alignment of the suspended artworks during development. This 3D room is not part of the final publicAR experience.

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Proposed Original Paintings for A.R. trigger (please see catalog for full inventory of available paintings for curational preferences).

1.

2.

Justin Orvold

“Pulse”

2026

Acrylic on Canvas

46 x 46 in.

3.

Justin Orvold

“Popsicle”

2026

Acrylic on Canvas

48 x 60 in.

4.

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Past A.R. Projects

ArtLoveSalon 110 Union St. Seattle WA

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CoCA Gallery 114 3rd Ave S, Seattle, WA

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A.R. Street Gallery 1st Ave S. and King St. Seattle, WA

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Paintings on Stretched Canvas

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C.V. / Experience

Education & Training

• Cornish College of the Arts — Painting & Printmaking

Woodblock, copperplate intaglio, monoprint, traditional painting, life study.

• DigiPen Institute of Technology — Graduate‑level digital art & 3D coursework

MFA‑equivalent training in rendering, spatial computing, 3D modeling, gesture drawing, foreshortening, and visual intelligence.

Professional Experience

• Orvold Construction — Founder & Owner

Custom furniture design, residential interiors, full‑environment design/build.

• Facebook Seattle Headquarters (1101 Dexter Ave N)

Contributed to construction and interior execution of Frank Gehry–designed 335,000‑sq‑ft office; rooftop garden; raw plywood interiors; exposed mechanical systems.

• Seattle‑Tacoma International Airport (SEA) North Terminal Modernization

Multi‑year, billion‑dollar expansion for Alaska Airlines; open‑volume lobby, long sightlines, integrated public art.

Artistic Accomplishments

• 35+ years continuous painting practice (1989–present)

• Paradigm shift at 16 establishing lifelong start‑to‑finish methodology

• Preserved archive of 46 large works (2000–present)

• Pioneer of presence‑based AR installations

• Creator of floating AR gallery above Seattle crosswalks

• Digital preservation and passive‑income print ecosystem

• New body of work in development (2025–2028)

• Preparing for Neddy, Gottlieb, and CoCA solo exhibition trajectory

Exhibition Gap (2015–present)

• Reduced exhibition activity due to large‑scale construction work, environmental research, and digital training.

• Period marked by major expansion of spatial intelligence, atmospheric perspective, and environmental scale in painting practice.

Artist Statement

Justin R. Orvold (b. 1972, Portland, Oregon) is an American painter whose practice spans more than thirty‑five years and is rooted in a paradigm shift he experienced at age sixteen. In that moment, he adopted a non‑judgmental, start‑to‑finish philosophy: each painting is approached with full commitment, completed without self‑censorship, and understood only when the “voice of intent” emerges at the end. This fearless methodology continues to define his work.

Orvold studied painting and printmaking at Cornish College of the Arts, where he trained in woodblock, copperplate intaglio, monoprint, and traditional life study. He later completed graduate‑level digital art and 3D coursework at DigiPen Institute of Technology, gaining MFA‑equivalent training in rendering, spatial computing, and visual intelligence during the early acceleration of AI‑driven graphics.

Alongside his studio practice, Orvold spent years as a self‑employed furniture designer and custom interior builder under Orvold Construction. He designed residential interiors and custom furniture, treating rooms as canvases and repeating spatial motifs the same way he does in his paintings. This work expanded into large‑scale commercial environments, including contributing to the construction and interior execution of Facebook’s 335,000‑square‑foot Seattle office at 1101 Dexter Ave N, a ten‑story building designed by Frank Gehry. The project’s raw plywood interiors, exposed mechanical systems, and massive rooftop garden shifted Orvold’s sense of scale from rooms to buildings, influencing the atmospheric depth and architectural skeletons in his paper works.

He later worked on the Seattle‑Tacoma International Airport North Terminal modernization, a multi‑year, billion‑dollar expansion for Alaska Airlines. The project’s open volumes, long sightlines, and integration of large‑scale public art expanded the atmospheric space in his drawings, widening the distance between elements and reshaping his approach to perspective.

From 2015 to the present, Orvold exhibited less not due to inactivity, but because he was expanding his understanding of environment, scale, and human movement through space. These years were formative: they reshaped how he sees, how he composes, and how he understands the relationship between organic life and dense urban infrastructure.

Today, Orvold’s work bridges the physical and digital worlds without belonging fully to either. His use of augmented reality is not digital spectacle but a method of stripping away context — removing walls, frames, and institutional architecture so that a painting can appear silently in public space. A floating canvas creates a paradox: advanced technology delivering the oldest art experience. Viewers expecting AR spectacle instead find themselves in a moment of stillness, presence, and human connection.

Orvold has preserved a 46‑piece archive spanning 2000–present, forming the foundation of his long‑term artistic trajectory. He is currently developing a new body of work for future exhibitions, including a planned solo show at CoCA and long‑term representation with a Seattle gallery aligned with his values.