“16 Windows” and A Million Possibilities

If you were to pick a window of a flat anywhere in New York City to peer into, what would you see? A family? An office space? Maybe a pet or two? That is the very point of it. There is no right or wrong answer. Every window is an opportunity to see someone or something in a new light, and that is exactly what Eugenie Tung has created with the installation of “16 Windows”. This captivating installation invites its viewers to contemplate the lives of their natural New York family around them. 

The artist Eugenie Tung, also known as Eugenie Packer, is a Hong Kong native born in the year 1977. She moved to the United States at the age of seventeen. After moving to Washington State, Ms. Tung attended classes at the Western Washington University and graduated with a Bachelors of Fine Arts in 2001. She was born to two parents who are labeled as “creative professionals,” so many could believe that art was woven into her genealogy. After graduating from Western Washington University, she continued her pursuit of art and graduated again from the Brooklyn City University of New York with a Master of Fine Arts Degree in 2004. Not long after graduating, she was granted the position of Head Teacher in the art studio of the Joan Mitchell Foundation Education Program (4).

The “16 Windows” installation is described as a stained glass window project with fused metal. The installation of the “16 Windows” piece was not until 2005. The artwork is a fishbowl effect on a small flat or apartment in New York City, New York. This eye-catching installation is located at the Canarsie Line in the New Lots Avenue Subway Station. Its full budget was ninety thousand dollars and it was fabricated by Franz Mayer of Munich, Inc. 4 The display is as follows: eight windows are stationed on the Manhattan bound platform, and the other eight are located on the Canarsie bound platform. They have no technical size listed, but in relation to people, I would assume the windows would be about two feet by three feet. You, as the viewer, are on the outside looking into the house, like peering through a window. Each of the windows are set apart like they would be lined in an apartment or as if they would be neighbors. Each one of the neighbors have their own little world they live in that is unique to their window. However, both sets of windows depict a different circumstance of scenes. The eight windows on the Manhattan bound line depict the lives of people preparing for work, school, and waking up in the morning.The eight on the returning Canarsie platform depict the arrival of families back to their homes, while they are beginning the process of winding down for the day. The artist's description of the piece is this: “Each scene is carefully captured in a two dimensional view, with some windows including objects drawn in perspective to give the viewer the illusion of depth. The style Eugenie Tung used to create this world is a flat colored, two dimensional, almost cartoon like style. Black metal is used as a heavy outline for line art, and thinner, black, cross hatched metal is used to allude to the idea of shading. Creating this effect in what is seemingly to be an unshadable material is amazing craftsmanship and innovative in the art world. As mentioned before, there are sixteen different scenes depicted in these windows. Those scenes are as follows: a depiction a younger blonde woman and her baby in the childs nursery with trains and a teddy bear; a younger male standing in a bathroom brushing his teeth with the vanity mirror open; parent and their younger child coming home from the store and greeting their child in the living room; a grayed out elderly person sat in their living room while watching television; a mother, father, and child sat in their kitchen eating a meal together; a red haired woman stood at a vanity makeup mirror brushing her hair; a woman in her kitchen cooking and wearing an apron; a group of people having a house party; a brunette male waiting for his laundry to be finished while gazing out the window; a young woman watering her potted plants and the window sill; two figures sat at a table eating a meal and reading the newspaper; a figure sipping coffee and browsing books sat on a window sill; a woman leaving her living room in her apartment with her black cat, yellow bird in a cage, and a detailed map on the far wall; a childs bedroom with flowered wallpaper, a stuffed bunny, and flowers on the window; and a figure sat in their study complete with a lamp, calendar, peg board, bookshelf, and computer. If you happen to be attentive enough to count the number of scenes listed above, (you have more will power than I do) you will notice that only fifteen scenes were listed. For the sixteenth scene, it depicts no human existence. Just a house plant, potted and sat on a window sill, with a lime green tied curtain or drape off to its right. Besides the plant being potted, there is no depiction of other life in this scene, which differs it from the others. I believe this is meant to compare the industrialization of New York City, New York to the raw nature it once was. In bigger cities, it’s rare that nature is preserved, so I believe that this is an homage to that. 

Eugenie Tung's ability to display complex stories within the span of each window is a testament to her artistic skill. The "16 Windows" installation showcases Tung's unique approach: a flat, two-dimensional style that leans toward the realm of cartoons. This choice is absolutely intentional, as it serves to simplify the complex stories she tells, making them accessible and engaging to viewers from all walks and ages of life. The heavy use of black metal outlines offers a clear sense of structure, and the cross-hatched metal adds a bit of shading, bringing depth and texture to the scenes. The imperfections within the glass to create these pieces also helps bring the “living” energy that Tung wanted to bring in looking in these windows.  The vast differences of the two-dimensional style with the illusion of depth creates an almost mesmerizing visual effect, drawing viewers into each window's world. Eugenie Tung’s installation's charm lies in its ability to balance intricacy and simplicity. Eugenie Tung's choice of a flat, almost cartoon-like style absolutely keeps the piece within an “inner city” art style, similar to a basic comic book. However, the limitation of this high saturation and high brightness color palette, limits her color range and ability to display depth. Although her expert use of color, form, and shading brings each window to life, giving the impression that one can step into these miniature apartments and join in the stories unfolding within.

This kind of installation positively affects the community's energy. Not only does it provide a conversation piece for those who came to the subway unequipped with a distraction, but in the same tense encourages people to talk amongst themselves about the pieces. In a nuanced sense, it also helps suggest the idea that we all live together even if we do not physically live together. In many pictures from Eugenie Tung’s website, you can see people standing near or around the pieces looking at them and discussing them.  We are all neighbors and families in a community. Any time subway stations are shown in the media, they are described as dingey, grimey, and almost always brought about in a chronically negative light. Having such an architectural display there would bring a welcoming energy to the station by letting light and color spill into the atmosphere. Not only does it recolor the station itself, but it also brings in the inclusive style of city wide “cartoonish” comics and graffiti. Being in a bigger city is almost always a guaranteed spot for graffiti and any other kinds of vandalism. The cartoonish stylization of this piece almost brings a friendly child like aire to the station as well. All in all, I feel this is a good representation of New York and its community. It displays a general biodiversity in the characters shown. It also encompasses the lifestyle of many different types of families while clearly hitting the points of things we all do. 

"16 Windows" exists within a rich historical context that adds layers of significance to its presence in the New York City subway. The New York City subway system is more than just a network of tunnels and tracks; it is a cultural icon, a vital artery that sustains the city's life and blood. Since its creation, the subway has been a place for various forms of public art, injecting elements of culture and creativity into the daily lives of its millions of passengers. Public art in urban spaces holds a special and unique place in our collective consciousness. It is a means of expression, a declaration of identity, and a bridge between artists and their audience. The subway stations, often seen as dark, grim, and uninviting places, have been transformed by the inclusion of art. "16 Windows" represents a distinct chapter in this artistic evolution, reminding us that even among the loud ambience of daily life, there is space for reflection, beauty, and connection. It stands as a beacon of creativity in a city that thrives on innovation and artistic expression.

In the heart of the New York City subway, Eugenie Tung's "16 Windows" art installation transcends its physical form to become a portal into the shared human experience. It is more than just art; it is a reflection of our own lives, a celebration of our collective story. Tung's artistic techniques, her vision, and the impact of her work on the community and culture of New York make "16 Windows" a symbol of artistic excellence and a testament to the enduring power of public art. New York City is a melting pot of cultures and diversity, a place where people from all corners of the globe come together to live, work, and create. "16 Windows" is a vibrant celebration of this cultural richness, uplifting language and backgrounds to connect with people on a universal level. Phil Jimenez is native to the New York City area and is one of the largest comic book illustrators of Detective Comics. He was the original illustrator of Wonder Woman, and has illustrated, colored, and designed covers for many other comics for DC (1). Lady Pink, a popular Ecuadorian graffiti artist, was also raised in New York City and currently works as a part of their graffiti movement (2). The line work and bold color call back to some of the minority art creators and designers in New York City and provide yet another way for them to be recognized. Although we cannot all speak the same languages, a picture is worth a thousand words. Its many scenes depict a myriad of characters and scenarios, offering a mosaic of life in the city. The installation embraces and mirrors the daily routines of people from all walks of life. From families preparing for the day to solitary moments of contemplation, it encapsulates the essence of urban existence. In its detailed portrayal of everyday scenes, it captures the spirit of New York and the shared experiences that unite its residents. As you explore each frame, you'll notice that the characters and scenarios reflect the cultural diversity of the city. From families of different backgrounds enjoying meals together to individuals pursuing their own passions, "16 Windows" exemplifies the idea that New York is not just a city but a collection of interconnected neighborhoods, each with its own story to tell. The installation pays homage to the essence of the city and its unique character, fostering a sense of connection and inclusivity. It encourages viewers to recognize the shared experiences that transcend cultural and linguistic barriers, highlighting the universal aspects of human life that bind us all together.

Subway stations are typically associated with the anonymity of commuters who rush from one point to another, seldom engaging with their surroundings or fellow travelers. In this context, Tung's creation acts as an unexpected bridge between the solitude of subway travel and the shared experience of the city. The installation could serve as a conversation piece for those who find themselves without a distraction to pass the time, encouraging people to engage with one another about the narratives it presents. It fosters conversations and connections, reminding commuters that they share a common journey through the labyrinthine subway system. But the impact goes deeper. It sparks discussions about the shared human experience. It subtly suggests that despite our individual paths and private lives, we are part of a larger community. We coexist as neighbors, as families, as strangers with interconnected stories. The beautiful scenes behind each window mirrors the lives of limitless New Yorkers, and by extension, urban dwellers everywhere. In the realm of public transportation, subway stations are often portrayed in the media as gloomy, grimy, and inhospitable places. "16 Windows" challenges this stereotype, breathing new life into the station by allowing light and color to flow into its depths. The installation does more than recolor the station; it injects the spirit of city-wide "cartoonish" comics and graffiti, bringing a friendly, childlike air to a space usually dominated by rush and routine. In a metropolis renowned for its vibrant street art and graffiti culture, "16 Windows" melds seamlessly with the city's urban aesthetic, becoming a harmonious part of its visual tapestry. The station itself is transformed into an artistic expression of the city's identity, making the subway more than a transportation hub; it becomes a work of art itself.

As you step back from the installation, having explored its scenes and stories, you may find yourself changed. You may see your fellow commuters in a new light, as fellow actors in the grand play of urban life. In the end, "16 Windows" invites you to contemplate not only the lives of strangers but also the essence of humanity that connects us all. It is a reminder that even within the anonymity of the subway, we are part of a larger community, sharing in the tapestry of urban existence. In Eugenie Tung's creation, New York City's vibrant cultural diversity is celebrated, and the city's daily life is immortalized. It bridges the gap between the mundane and the extraordinary, offering viewers a glimpse of life's beauty hidden within the ordinary. As you leave the subway station, you carry with you not just the memory of "16 Windows" but also a deeper run connection to the city and its inhabitants.This expanded exploration has delved into the essence of "16 Windows," providing a richer understanding of the artist, her work, and the profound impact it has on the community and the city itself. Eugenie Tung's "16 Windows" art installation in the New York City subway is such a powerful testament to the limitless beauty and complexity of urban life. Through her distinctive artistic vision and techniques, Tung brings the lives of New Yorkers to the forefront, inviting viewers to reflect on the shared human experiences that connect us all. This installation has a profound impact on the community, infusing the subway station with energy, color, and a sense of togetherness. It challenges the stereotypes associated with subway stations, transforming them into spaces of art, culture, and community. "16 Windows" exemplifies the inclusive and diverse nature of New York City, showcasing the daily routines and moments of the city's residents. It is a celebration of life, art, and the shared experiences that define the essence of the city that never sleeps.

Bibliography

1. Detective Comics. n.d. “Phil Jimenez.” DC. Accessed November 26, 2023. https://www.dc.com/talent/phil-jimenez.

2. Javier. 2022. “12 Legendary New York Graffiti Writers That You Should Know before 2023.” Street Art Tours in Madrid by Cooltourspain. June 2, 2022. https://cooltourspain.com/new-york-graffiti/.

3. NewYorkSubway.org. n.d. “Artwork: ‘16 Windows’ (Eugenie Tung).” Www.nycsubway.org. Accessed October 22, 2023. https://www.nycsubway.org/perl/artwork_show?205.

4. Tung, Euginie. 2022. “16 Windows.” Eugenie Studio. Eugenie Studio. 2022. https://www.eugenie.studio/16windows.