The artistry and fabrication behind San Francisco’s stainless steel rock sculptures

“Rolling Reflection,” from artist Sanaz Mazinani, is a collection of 20 stainless steel sculptures that reside outside the San Francisco Planning building.

There is more to the 20 sculptures found outside the San Francisco Planning building than meets the eye.

Each rock-like shape and size, each color, each mirrored side means something, said Sanaz Mazinani, the artist behind the installation known as “Rolling Reflection.” The same can be said about its location at the planning department headquarters.

“All the architects, people who plan the city, public works, urban designers, they all work in that building,” said Mazinani, who is based out of Toronto but was once based in San Francisco. “I not only made this for visitors to see, but also for those going into work [at the planning building] on a daily basis.

“For me, with public art, it is very important the viewer be captured in it so they can see themselves. It creates a sense of ownership of the city, of the place that you occupy, of the place where you live,” she added. “It’s just nice for you to see yourself reflected back in your community.”

Besides what “Rolling Reflection” means as a representation of the Bay Area, the project—which took longer to complete than originally planned—celebrates artistry and metal fabrication, the people behind the public art installation said.

Understanding the Rocks

It may be difficult to pin down what attracts you first to any of the “Rolling Reflection” stainless steel sculptures. Is it the bright colors? The rock-like pieces seemingly cut in half? The mirrored side of the structures?

“The wonderful thing of public art is you don’t need to understand everything about it to enjoy it,” said Mazinani, who’s had public installations in San Francisco; New York City; Washington, D.C.; and Toronto.

Her artwork extends beyond metal sculptures to include photography and large-scale multimedia installations. Mazinani’s work has been featured at colleges/universities, art galleries, museums, and public places.

Chris Powers, founder of KC Fabrications in Gardiner, N.Y., the fab shop behind the project, said the 20 stainless steel rock sculptures warrant attention.

“It just looks complicated,” Powers said.

Fabricators used prepolished stainless steel plates for the mirrored sides of the sculptures. The plates were welded onto the faces of the rocks.

“It was definitely a difficult project with difficult circumstances, with COVID and the deadlines we had and everything we had to do. But we were fortunate to be working with [Mazinani]. In terms of how it came out and what we thought of it, this one I would say was a 10 [out of 10],” he added.

Each sculpture stands 3 to 8 ft. tall. The height differences between the steel sculptures represent the area’s elevation changes, “mirroring the undulating rhythm of its peaks and valleys,” according to Mazinani’s description.

Each structure was painted with automotive paint, each color reflecting what one might see on a typical day along the San Francisco skyline.

“Color variations begin with the soft hues of the rising sun on the bay, to the rich blues of the water at the sun’s zenith. Finally, as dusk approaches, the palette shifts to the golden tones reflected on the ocean during sunset,” the description read.

Small volcanic rocks Mazinani collected were 3D-scanned to create the patterns needed for sandcasting the sculptures, which Powers said was an easier and more affordable process for the project.

The fabricator used prepolished stainless steel plates for the mirrored sides of the sculptures.

“We just welded a 4- by 8-ft. prepolished plate to the face of the rock, tacked it on, and dragged a plasma cutter all the way around the rock, and sanded it smooth to the rock,” Powers said. “From there, you bevel that plate to the rock. And then we TIG welded everything to try and control the heat better and keep anything from warping.”

From Idea to Reality

As with most things throughout the last few years, the pandemic delayed “Rolling Reflection.” Mazinani said it took about two-and-a-half years for this project to go from concept to installation in late 2020. It’s unlikely it would have taken more than two years were it not for COVID-19.

“We were in the midst of fabrication in March 2020” when the pandemic and mitigation measures upended the timeline, she said.

“I can’t give you an accurate timeline because we were shut down twice in the process of making the work,” Mazinani added. “We were really lucky that the fabricators were able to prioritize the work every time we were back on.”

Each rock-like sculpture varies by height, color, and shape. The colors, for instance, are meant to evoke the colors seen on the San Francisco skyline during a typical day.

“When we went back to work, everyone now wanted their project done first,” Powers said of his shop’s demand in the early months of the pandemic.

Regardless of delays, both Mazinani and Powers had nothing but praise for the way the sculptures turned out.

Powers first began welding in 1986, was hired at a nearby foundry two years later, and stayed there until forming KC Fabrications in 2006 with Kurt Wulfmeyer. The shop has worked with several artists over the years; its most recognizable project arguably is the fabrication and installation of several items at the 9/11 Memorial & Museum in New York City.

Powers said projects like Mazinani’s are among the reasons he ventured on his own to start his own fabrication shop.

“I enjoy the interaction with the artists; I enjoy helping the artists. It’s a great way to go to work,” he said.

“Even though it was installed a while back, I am still getting messages from friends and people who I don’t even know on Instagram saying they enjoyed it or tagging me [with ‘Rolling Reflection’],” Mazinani said of the responses she’s received.

“It’s been overwhelmingly positive. It makes me feel so good about being an artist and that my hard work was worth it.”