The Art of Curiosity

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THE ART OF CURIOSITY

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A wo r d f ro m A llison

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THIRTY YEARS OF CREATIVE CURIOSITY As KBAA celebrates thirty years of transforming spaces through art, I find myself reflecting on a fundamental force that continues to propel us forward: curiosity.

Since 1995, our natural inclination to ask “what if?” has led us to reimagine environments across the country, guiding us through countless collaborations with designers, artists, and clients who share our passion for artistic excellence and creative discovery.

I believe “The Art of Curiosity” perfectly captures not just our theme for this issue, but the very essence of artistic expression itself. After all, art emerges when we have the freedom to look beyond necessity and explore the realm of possibility. From prehistoric cave paintings to modern installations, art has always been humanity’s way of investigating the world, processing experiences, and imagining new realities. At KBAA, we honor this tradition by curating spaces that inspire that same sense of discovery in others—whether in boutique hospitality destinations or nurturing healthcare campuses.

As spring unfolds, I find myself thinking about the new questions KBAA might explore.

Through carefully curated art, we create meaningful connections between people and spaces—but how can we deepen that impact to better support wellbeing? How might we connect with a growing community of creators? And at the heart of it all, what are the stories we’re going to tell while inviting curiosity and creating moments of wonder along the way?

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Pottery by local artist Kassie Dilworth invites wonder through texture and form, welcoming everyone who steps into Kimpton Santo.

With gratitude and a curious heart, Allison Barry 3

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TABLE OF CONTENTS 4

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Table of Contents

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07 The Art of Curiosity

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Feature: The Artful Atwell on Spring

09 Feature: San Antonio’s Kimpton Santo

23 KBAA Asks: What’s Your Spark?

15 A Conversation on Art & Design

25 Artist Insights: The Role of Curiosity

17 Trend Report: Pantone’s Mocha Mousse

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Events & More

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T he A rt of C u r iosity

Remember when you were a child and everything sparked wonder? The first firefly on a summer night, the shape-shifting clouds overhead, the mysterious contents of a tide pool. Curiosity didn’t feel like effort—it felt like magic. This natural sense of wonder doesn’t have to fade. Curiosity is our most powerful tool for creating meaningful connections in all aspects of life—the flashlight illuminating unexpected relationships between ideas, people, and possibilities. And we have it at our fingertips.

When we approach each day with genuine curiosity, doors swing open. We ask questions that reveal deeper layers of meaning and transform ordinary moments into extraordinary experiences.

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With curiosity as our mindset, we’re invited to look up from our phones and notice the way light plays across the room or open up conversation with a stranger who could serendipitously become a close friend.

In a world optimized for efficiency, curiosity offers an authentic kind of richness. It doesn’t demand more time—just more presence. And the reward? A life infused with discovery, connection, and the particular joy that comes from seeing the world with fresh eyes.

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KIMPTON SANTO

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K i m pton S anto

In the heart of San Antonio, Kimpton Santo emerges as a study in creative curiosity. Interlacing contemporary architecture with an 1850s German Schoolhouse, this distinctive hotel radiates an atmosphere that rewards the inquisitive. “This site is extraordinary in how it embodies convergence,” explains Veronica Volborth, KBAA art director. The intersection of elements extends throughout the property: positioned at the Central Business District and La Villita (the city’s oldest neighborhood), the hotel weaves Bauhaus influences with original brick walls and blends German heritage with Mexican culture against a historical Texas backdrop.

For Kevin Barry Art Advisory and design team KTGY, the art program unfolded within the juxtaposing elements. Embracing curiosity as both method and muse, we embarked on a journey of discovery—with San Antonio’s rich cultural landscape as the guide.

“We explored local artists’ studios and galleries,” notes Gina Deary,

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Principal of KTGY, “building genuine connections between the art, the place, and people.” “While KBAA collaborates with talented artists across the country,” Volborth shares, “engaging with local creators brings authentic perspectives that tell the story of a place through the eyes of those who know it intimately.”

What surfaced was an incredible history of weaving and ceramic arts—alongside a cultural heartbeat of joy. Integrating the Bauhaus design aesthetic with earthy, honest materials like textiles and clay, the art program and the architecture merge as a sophisticated representation of San Antonio’s complex identity. Dozens of small moments invite guests to discover the unexpected in this uniquely multifaceted destination.

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Local artist Ansen Seale explores photographic abstraction with heirloom corn.

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By whole-heartedly following our curiosity in what makes San Antonio unique, we materialized an art program that is woven into the tactile and emotional experience of the space itself. In the dining room, David Hicks' ceramic sculpture [07] creates a dynamic relationship with its audience. "Art should evolve with its viewer," Hicks shares. "As you move around the piece, you'll find your own connections to agriculture, land, and nature based on your personal experiences." His composition arranges vessels and forms that speak to each other, creating something greater than the sum of its parts.

Local artist Ansen Seale brings his series “The Corn Crib” to the hotel [02], exploring corn's deep roots in Texas culture, while Louis Vega Treviño's cocktail napkin series [08] plays with perception, resembling intricate weavings from a distance while revealing their unexpected medium up close. In the prefunction ballroom, Kevin Chupik merges pop art with western iconography to create a contemporary (and humorous) conversation with the region's heritage [04], while Argentinian artist Nicolás Leiva's ceramic globes [06] introduce moments of exuberance against the simplicity of dark brick. For Austin-based muralist DAAS, curiosity came to life through an exploration of how abstract forms and colors could express the movement of Mexican dresses in dance [05].

The guest rooms offer their own moments of discovery with the help of the Texas Historical Commission, who partnered with KBAA providing vintage photographs of a German Schoolhouse.

They create layers of narrative, hanging alongside embellished textural prints and framed weavings.

“Working with the Texas Historical Commission gave us access to these amazing images. Texans care deeply about preserving their state’s heritage, and this collaboration helped us connect the building’s past with its exciting new chapter.”

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— Veronica Volborth, KBAA 10

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Textiles and historic imagery tell stories of place and time.

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Kevin Chupik injects artful humor into Santo’s gathering spaces.

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“Echoes of Celebration” dances across the outdoor courtyard.

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Imaginative patterns and symbols contrast sophisticated materials.

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David Hicks’ ceramic and steel wire installation hangs in the dining room.

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Louis Vega Treviño’s geometric drawings turn cocktail napkins into works of art.

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“You only discover these special artists, these special moments, if you go out and see what really inspires you.”

—Gina Deary, KTGY

Sometimes the most remarkable discoveries happen by chance.

Such was the case with Doerte Weber’s fiber art installation floating above the Kimpton Santo’s lobby bar, one of Kimpton Santo’s most distinctive and captivating installations. What began as a scheduled studio visit with photographer Ansen Seale evolved into a serendipitous introduction to Weber, Seale’s wife, studio mate, and an accomplished weaver. “Weaving was central to the concept,” states Deary, “so finding Doerte... it was perfect.”

Weber’s suspended textile panels draw inspiration from multiple traditions: the experimental approach of Bauhaus women weavers and the cultural tapestry of the locale itself.

“I immersed myself in San Antonio’s history and heritage, letting those elements shape my work,” Weber explains. Each of the four fiber panels represents the city from the corresponding direction, crafting a dimensional story of place.

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The lobby bar at Kimpton Santo invites guests to indulge in both craft and cocktails.

To the south, vibrant colors celebrate the city’s dominant Hispanic culture. Western blues reference the life-giving San Antonio River just three blocks away. Northern patterns honor the German settlers who established the King William neighborhood, and the eastern section features a “crazy quilt” of merging colors representing East San Antonio’s role as a cultural melting pot.

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The installation transforms a functional space into a moment of artistic inquiry. “How the bar connects the influence of Mexico, the river, the hill country and ties to German immigrants that came here—it really sparks conversation,” notes Marla Segura, Marketing Manager for White Lodging, the hotel’s owner and operator.

Weber’s work naturally awakens the inquisitive spirit. “I love to tell stories through my weaving,” she says. “The process itself creates connections—both structurally and thematically— which makes it a perfect medium for exploration.” Through her textiles, Weber poses questions about identity and place which invite viewers on their own journey of discovery.

Kimpton Santo stands as a testament to the power of curiosity-driven design. Beyond simply showcasing art, the program embodies the convergence of cultures, histories, and traditions that define the city. As guests move through the property—from Weber’s suspended textiles to Hicks’ evolving compositions, from historical photographs to contemporary sculptures—viewers become active participants in the ongoing conversation that makes San Antonio the endlessly fascinating destination it is.

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“Art offers the gift of a fresh perspective.

I hope that those who see my work will feel inspired to look more closely, to ask questions, and perhaps even to explore—whether that means strolling along the River Walk or venturing into the Texas Hill Country.”

—Doerte Weber

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Doerte collaborated with her carpenter and the millwork designer to ensure a visually seamless final piece.

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A glimpse of the west panel, depicting the San Antonio River.

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Up close and personal with the north-facing panel.

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A Conversation on Art and Design with Gina Deary, Principal at KTGY Interior Design, Marla Segura, Marketing Manager at White Lodging, & Veronica Volborth, Art Director at KBAA

KBAA: Thank you all for gathering to talk art, design, and hospitality! Let’s start with an overview of Kimpton Santo and the general approach to this project.

on their computer with projects they’ve liked, and so many people have the background of that artwork. It's just really, really fun.

Gina: When KTGY looks at art, we don't see it as separate: ‘This is a piece of art. This is design.’ It goes beyond that. For example, we considered the German school’s architecture part of the artwork. All this beautiful historical stone is very, very soft. It's crumbling, there's a lot of imperfection, so we exposed everything in the interior to let that shine. The furniture is clean and simple.

We didn't want anything to compete with it. And then we brought in other materials, like historical tiles, that become art in the space.

KBAA: The historic building has a rich architectural heritage you wanted to honor. How did you go about balancing the original elements while introducing new materials and textures?

When we selected artist-made works, we wanted it to convey the lighthearted color of San Antonio—there's a lot of joy built into the culture. Part of the concept was that artwork, from paintings and sculpture to finishes and fabrics, reflected that joy.

We ended up with such a nice mix.

There's a really charming display by Kevin Chupik near the ballrooms. At KTGY, everybody has a background

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Gina: It's a Bauhaus modernistic architectural experience, so you have a lot of building materials that start outside and extend to the interiors. For example, in the entrance we have these black brick walls that are very clean and simple. We visited an awesome gallery, Ruiz-Healy Art, and discovered ceramic globes by Nicolás Leiva that add so much texture to those brick walls, right? It's like they’re climbing up the wall.

Veronica: It’s such a unique piece and works so well with the complement of the brick. The ceramic orbs have primal patterns and such exuberant colors. There's an essence of looking toward this really traditional ceramic craft, but presenting it in a unique and contemporary way that complements the finishes. It ended up just stunning.

Gina: When you walk in, you see a lot of pottery. Even the front desk is shaped like pottery. As we asked questions about the historical crafts that come out of San Antonio, we decided to modernize them.

This hotel isn't really about the past. We want you to walk off the street and know you're in San Antonio, but you're in a new San Antonio. So we went out and mined all the finishes, conceptually. The hotel is built out of the local materials, but it's new and different. Curiosity definitely played a role in that.

Marla: The art and the architecture tell a story together. Walking into Dean’s Steakhouse, for instance, there’s this beautiful exposed brick, original stone and beams with the textile installation overhead. They provide context both ways.

Veronica: I also think the way Doerte Weber designed and created her fiber works for the lobby bar—with four panels depicting San Antonio’s culture corresponding to each cardinal direction—really piques visitors’ curiosity.

Gina: That actually involved really in-depth detail work with the craftspeople who were making the

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“Coffee Color” by local artist Leyhbert Millan Sharp.

framework. There were these intense measurements and adjustments she had to make, but she was always down to learn and figure it out.

KBAA: What advice do you all have for somebody looking to launch a project with KBAA? Veronica: My advice is to think about the story waiting to be told. What makes the property unlike any other place in the world? In the case of Kimpton Santo, it was the unique blending of culture, craft, and the history of San Antonio. I’d also suggest approaching the curation with a desire to collaborate. The magic happens when we can partner, become a team, and build something truly singular together.

Marla: Veronica read my mind. In a way, it makes my job more exciting and a little easier. It becomes a huge part of the identity of the hotel. People love the little Easter eggs… “Did you notice every panel on the bar is different? Did you notice the patterns on the globes?” It’s fun for guests and for patrons and for people that work here to learn more and discover. How it ties into the history is just an added bonus. It’s really exciting!

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Ceramic sculptures by Nicolás Leiva climb up the brick lobby wall.

Gina: There are so many different ways of looking at it. You can think of them as advisors or curators with an extensive knowledge bank. I can say to them, “a lot of our concept has to do with weaving things together. I really want to get a weaver in there, somehow.”

But I would have never been able to find our artist Doerte Weber. I might have ended up with a little weaving I found or just kept doing weaving artwork, but with KBAA we ended up with this showstopper. Or I can give them a specific piece, and they'll come back with a package of ideas, all different mediums and price ranges. It opens up so many different opportunities.

And then you're also getting all these experts. We all lose track of how hard it is to frame things, to store and move art, to keep it safe, to hang it. None of that stuff is fun! And they take care of it all.

of a designer you are, if you're following your vision to the tee, suddenly there's no room for surprise. What I’ve found is that if you let the artists do what they do best, they're going to visualize the concept and see the space differently than you are, so the art becomes more meaningful and tells more of a story.

Veronica: Gina was such a cheerleader for the artists, supporting and giving them so much creative freedom throughout the process. Being able to step back, look at all the range of ideas, and realize “the best ideas don't always have to be mine”—the collection and the design ends up more powerful that way. In the end, supporting the artists and artisans to really create their vision and incorporate it into the space—that’s something KBAA prioritizes.

KBAA: Thank you again for sharing your perspectives! As we wrap up, what role does collaboration play in creating truly exceptional spaces?

Gina: Through my years of experience, if one person holds all the vision, it can become very flat. No matter how good

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MOCHA

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Pantone’s 2025 Color of the Year is a rich, velvety brown capturing our collective yearning for grounding amid change.

Like sinking into a favorite armchair, Mocha Mousse offers both sophisticated elegance and comforting familiarity. Artists are embracing its earthy warmth through textural elements and sculptural forms that anchor spaces while harmonizing effortlessly with vibrant accents or neutral companions. In this delectable hue, we find the ultimate luxury: comfort.

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Creatives embrace Mocha Mousse's depth through varied materiality that feels both protective and revealing. Roi James' oil on linen [A] captures ephemeral delicacy, while Chad Kilgore's compositions of painted and stained papers [E] evoke natural armor like tree bark or serpent skin. Brooke Noel Morgan's "Winds of Change No. 2" [F] summons atmospheric daydreams with cascading drips that seem to melt across the canvas. Imaginative architecture [D] transports us to new worlds; in fashion, the hue transitions elegantly across structured, architectural suiting and flowing, cloak-like gowns that create effortlessly feminine forms [C].

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On dimensional forms, the tone elevates from trend to timeless treasure. Ben Medansky's glazed stoneware [B] mimics organic formations like undulating bones and weathered shells. Ink + Indigo's textural paperclay [H] introduces topographical intrigue through subtle variations in surface and shadow. Delphine Cordie's installation "Let's Sit Down and Talk" [G] plays with the weight of petals while Ali Enache's "Don't Go" [I] explores misty visions that hover between earth and sky.

From the softness of draped fabrics to the permanence of fired clay, this earthy tone demonstrates remarkable versatility across artistic expressions.

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ART AND EXPLORATION AT ATWELL ON SPRING

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Erin Lehrmann’s collaged illustrations create intrigue with layer and texture.

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“Maryland Bloom” by Nicolette Capuano peeks out upon entering the lobby.

Where urban vitality meets natural serenity, Atwell on Spring emerges as a one-of-a-kind sanctuary in Silver Spring, Maryland. Through harmonious collaboration between Kevin Barry Art Advisory, Bozzuto management group, and architectural firm Grizform, the property transforms residential living into a curated parkside experience of sophisticated luxury and authentic connection. “The leadership at Bozzuto really values art and local culture, so we were empowered from the start to develop a program that would inspire residents to immerse into the spirit of Silver Spring,” notes KBAA Art Advisor, Gigi Dick. This passion for creativity manifests in meticulously placed works creating moments of delight throughout the common spaces. From the first step inside, organic forms and rich textures create beautiful counterpoints to the building’s clean architectural elements. But each piece does more than enhance the visual environment— it invites residents to stay open to new perspectives and the meaningful connections that result from following their curiosity.

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The art program reflects Silver Spring’s dynamic character, complementing a location where diverse dining options, performing arts venues, and miles of bike paths are all within reach. The communal kitchen, visible immediately upon entering the lobby, centers around “Maryland Bloom,” a striking large-scale mural by artist Nicolette Capuano. This prominent placement speaks volumes about Atwell’s priorities—community spaces aren’t tucked away as an afterthought but showcased as central to the residential experience.

“We wanted something impactful and playful,” our team explains, “while breaking up the linearity of the rest of the space.” Capuano painted the original artwork at a precisely calculated size to be enlarged as a durable wall covering. “My vision was to create an artwork to envelop residents in stunning bursts of florals against a chiaroscuro backdrop. When you scale up a flower no larger than your hand, it changes your perspective of the world, eliciting an urge to slow down, enjoy nature and just be,” states the artist.

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Danae Falliers’ “Library Photography” transforms bookshelves into patterned abstractions.

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“Maryland Bloom” by Nicolette Capuano celebrates local flora through a custom mural.

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In the private clubroom, prints

by Fares Micue break from the predominance of abstract works while maintaining a sense of mystery.

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“Woven” by Bryan Valenzuela channels themes of connection, unity, and hope.

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The art program deliberately extends beyond the building’s walls, acting as a bridge between Silver Spring and the vibrant life within. A standout example is Bryan Valenzuela’s narrative-driven mural in the mailroom—a space with soaring windows open to the sidewalk.

The woven colors symbolize different threads of life coming together while upward-facing palms welcome viewers to investigate. “My hope is that anyone interacting with this piece can find something new each time they see it,” says Valenzuela, “From a distance, you see a large hand rendered in light and shadow but closer inspection reveals tens of thousands of handwritten words that etch out local texts.”

Through this thoughtfully curated collection, Atwell on Spring doesn’t just provide a place to live—it creates a place to explore and discover. Each piece offers an invitation: linger a bit, follow your curiosity, and get to know your neighbor while you’re at it.

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WHAT’S CURRENTLY SPARKING YOUR

Kajsa Piatt

Aynsley Wille

Chelsea Herman

SENIOR ART ADVISOR

ART COORDINATOR

ART ADVISOR

“I’m really interested in exploring dimensional and textural pieces— especially when artists incorporate unique materials you don’t often see in traditional galleries. I love how unconventional materials like treated metals, fabrics, or organic elements create a more tactile experience, blurring lines between sculpture, installation, and painting.”

“I’m enjoying the shift toward pops of color and textile works that speak to the local narrative. We’re seeing tides turn toward bolder expression within interior spaces and artwork is the perfect way to do so. I spend time observing trends on Instagram, but also love publications like Hyperallergic and local art fairs.”

“Sensory Curation interests me— immersive experiences that engage multiple senses beyond just the visual, especially in inclusive design. I’m also curious about AI and how it is being utilized in curation beyond just generative art. A go-to resource is the Raw Material Podcast from SFMOMA.”

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CURIOSITY IN THE WORLD OF ART?

Danielle Bourassa-Young

Megan Enright

Divya Patel

SENIOR ART ADVISOR

ART ADVISOR

ART COORDINATOR

“I’m curious about art curation and interior design trends, as well as how the political climate is affecting artistic freedom. To satisfy my curiosity, I read the New York Times, Architectural Digest, and follow news on social media platforms regularly.”

“I love Sight Unseen as a great source of inspiration that spans architecture, interiors, design and art. I’m also a huge fan of Erria, a database and design resource that champions small artisans, designers, craftspeople, and artists.”

“As an artist myself, I’m researching and thinking about natural materials, recycled elements, and eco-friendly techniques. Art has the remarkable capacity to inspire social consciousness about sustainability—inviting observation and reflection, creating awareness around environmental issues. How can we use art to foster conversations and inspire a collective commitment to protecting the planet?”

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“Over the years, my work has evolved from traditional film photography to innovative techniques that challenge perceptions of time and space. Using a specialized digital slit-scan camera of my own invention, I transformed an unused 1800s-era agricultural building with a site-specific installation at the Land Heritage Institute near San Antonio. “The Corn Crib” symbolically “re-fills” an unused 19th-century agricultural building, restoring its purpose.”

—Ansen Seale

WHAT ROLE DOES CURIOSITY “Curiosity drives me to explore how art makes people reflect in unexpected ways. My work ‘Echoes of Celebration’ investigates San Antonio’s intertwined heritage by weaving diverse patterns that capture a community thriving on the harmonious fusion of traditions."

—DAAS

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“To me, painting is like dreaming.

We dream strange things and wake curious, asking “What was that about?” We come to find that dreams are a skin for our emotions, unanswered questions and messages from the soul. Painting and art in general work the same way—as a key for understanding ourselves—and we engage in this inquiry through curiosity.”

—Alyson Khan

PLAY IN YOUR WORK? “For me, curiosity is at the heart of what it means to be human. It’s the very thing that has created so much of our world and has pushed humanity to discover the hidden complexity and beauty in all things—from the far reaches of the universe beyond our atmosphere to the depths of intricacy in something so seemingly simple as a leaf or a drop of water.”

Headshot by: Jeremiah Young

—Bryan Valenzuela

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Why might Courbet have chosen to paint a forest?

How might this costume move on stage?

What symbolic elements appear in this brass plate?

What emotions does Grausman’s sculpture evoke?

How might this vase have been innovative in material?

Cultivate the art of curiosity.

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Walk with us through the collection at The McNay Art Museum in San Antonio, Texas, asking questions that spark connection and creativity.

Clockwise from top left: Courbet, Gustave. Forest Landscape. 1865, Oil on canvas. | Unknown. Plate depicting Adam and Eve. 15th century, Brass. | Grausman, Philip.

Victoria. 2007, Stainless steel. | Carder, Frederick. Aurene Vase. 1932, Glass with iridescent surface. | Berman, Eugene. Costume design for Lodovico, Act III, in Otello. 1962, Watercolor and ink on paper.

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EVENT CALENDAR HD Expo

HCD Expo

MAY 6 - 8

OCT 25 - 28

Frieze NY

BDNY

MAY 7 - 11

NOV 9 - 10

HCD Forum

Art Basel Miami

JUNE 23 - 25

DEC 5 - 7

Nothing reveals hidden depths quite like closing your eyes and truly listening to music. Our curated playlist invites you to explore each song's unique story—the rhythms, inspirations, and emotions behind every note. Let your ears guide your imagination beyond the everyday. Scan the QR code and discover the journey within each melody.

Scan QR code to listen.

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Suspended in Kimpton Santo’s dining room, David Hicks’ terra cotta installation engages diners with visual rhythm and tactile allure. Hand-formed clay elements, finished with terra sigillata slips and a caustic soda glaze, create a translucent surface revealing the natural red clay beneath—a sensory celebration of material and form.

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