Palo Alto site specific Digital DNA

$350 of $7,000 goal

Raised by 4 people in 11 months
Artist needs to restore a  public art project in Palo Alto. Collaborate to SAVE this Lytton Plaza's iconic egg sculpture.

DIGITAL DNA – Adriana Varella  /collaboration Nilton Maltz

About the artwork: 

(Site specific) – Permanent public art project 

 7ft x 5ft 


At Lytton Plaza – University Av. & Emerson St. 

Commissioned by the city of Palo Alto Public Art Commission 


Recently I received an email from the Palo Alto Public Art Commission informing me that the sculpture is being evaluated for deaccession, due to the cost and effort of maintenance. I have offered many possibilities to the Commission to alleviate the costs and time of the maintenance; but the art commission doesn’t have any money; and Digital DNA is in danger.

Digital DNA sole intention is a momentary reflection about what we have been building, researching and planning for our software and hardware thinkers…. They are the ones who determine what users will be extracting from their computers (except for the hackers maybe). 

Digital DNA is a project in public art that tries to integrate the electronics origin conceptual space with one synthetic and organic form, it mixes languages; it goes deeper into the origins of what comes to be the adventure of computers. Therefore, through phrases like: “Circuits of power”, “ideological circuits”, “warfare circuits”, “borderless circuits”, “colonizing circuits”, “genetic circuits, etc, trying to verify, even if it is a glimpse of consciousness, one of the main tools-objects of our contemporary world. 

We hoped the art piece could bring some reflection. 

Why should I support this art project? 
The Art commission voted unanimously for the approval of this work (this art project is at Lytton Plaza 12 years freely accessible to everyone) and it’s removal would detract from the value of the Plaza and the city of Palo Alto. Join us supporting this project! This is a crucial moment to analyze our public art projects: What they are for? What they can bring and transformed? How they engage audiences of all ages/backgrounds? Are they activating the imaginary and consciousness of the people?

"It embodies the spirit and character of Silicon Valley." Barbara Mortkowitz former Palo Alto art commissioner.

"It is a work that truly attempts to grapple with the technical and political reality of the valley. The statement there is that the technology generated by Silicon Valley has a far-reaching impact. It's quite exquisite, one of the most geographically relevant pieces that I've ever seen". Gerald Brett, former Palo Alto art commissioner.

"I am grateful to those who have worked to maintain the piece over the years and who have advocated for the necessary expenditures. This is an important and perennially timely piece. Its reach extends well beyond the town and its continued presences and preservation add lustre to Palo Alto. Please continue to support the piece and allow necessary time for crowdfunding to supply a much needed boost to that end." Chris Moylan, resident of Santa Rita (Los Altos).

"Art is alive. Always. Preserving an art piece is as important as the art itself. It make us care about that feeling, that idea, that meaning. It make us remember, re-experience, replay the moment and the motivations which drove us there. The Egg in Palo Alto is one of those moments, frozen inside a sculpture, looking for the future but also suffering and collecting the impact of the unstoppable present. It's a mirror of that look and a society that doesn't look in the mirror once in a while is doomed to be lost forever." Rafael Bresciani.

"Adriana Varella's public sculpture, Digital DNA, at Lytton Plaza in Palo Alto, is an important piece of contemporary art that should be maintained by the city, as it is part of its collection of public art. There is no question that the piece is property of the city and therefore it should be maintained by it, no matter how many times it needs to be restored. There are many examples of contemporary art pieces whose ephemeral materials had led to decay, yet collectors or foundations maintain the pieces since they are an important cultural patrimony. I saw the piece when visiting Palo Alto years before I met the artist. I remember stopping to show my son and my husband this intriguing and attractive piece. Later I met Adriana Varella and invited her to participate of various exhibitions I curated, including the Mediations Biennale in Poland in 2012. She has an important career as a contemporary artist and her work should be respected and enjoyed. Some people would say, whose's art is it anyway? Public art is for the public, yet it sustains the artist's ideas through the dialogue it makes with history, and as a cultural patrimony this kind of art should continue to prioritize the artist and his/her work." Denise Carvalho, Curator.

I really appreciate your support and donation. There is a short deadline before a final decision is made in the beginning of November. I’m deeply thankful in advance for your active collaboration on this art project.

Lets support for restoring and keeping the piece where it is

Plan A 

(If the City accepts working in collaboration to keep the piece at Lytton Plaza)

Phase 1 - Remove the piece from the site to an art studio (or space provided by the City) - take out all the parts - clean everything. 

Phase 2 - Restore the structure - work in each piece with the phrase embroidered on it - cover with resin every part individually. 

Phase 3 - Assemble all parts in the structure, install in the site, add  UV protection covering the entire piece.

Find a person or a group of people to adopt the piece and each year we can apply the material necessary to maintain this piece with respect and integrity.  

Plan B 

(In case the City's final decision is for deaccession) 

Phase 1 - Remove the piece from the site to an art studio - take out all the parts - clean everything.

Phase 2 - Restore the structure - work in each piece with the phrase embroidered on it - cover with resin every part individually.

Phase 3 - Assemble all parts in the structure, install in the site, add UV protection covering the entire piece.

Phase 4: Transport the piece to it's new home. This may include time for storage while I find an Institution or another public space willing to receive the piece.
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$350 of $7,000 goal

Raised by 4 people in 11 months
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