KIMPTON SANTO
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,
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.
Local artist Ansen Seale explores photographic abstraction with heirloom corn.
“You only discover these special artists, these special moments, if you go out and see what really inspires you.”
—Gina Deary, KTGY
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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.
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.
The lobby bar at Kimpton Santo invites guests to indulge in both craft and cocktails.
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!
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.
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
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.
“Coffee Color” by local artist Leyhbert m illan Sharp.
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Ceramic sculptures by Nicolás Leiva climb up the brick lobby wall. 14
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.
Danae Falliers’ “Library Photography” transforms bookshelves into patterned abstractions.
“m aryland Bloom” by Nicolette Capuano celebrates local flora through a custom mural.
18 In the private clubroom, prints by Fares m icue break from the predominance of abstract works while maintaining a sense of mystery.
19 “Woven” by Bryan Valenzuela channels themes of connection, unity, and hope.
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
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?
Cultivate the art of curiosity.
How might this vase have been innovative in material?
Walk with us through the collection at The m cNay Art m useum in San Antonio, Texas, asking questions that spark connection and creativity.
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Clockwise from top left: Courbet, Gustave. Forest Landscape. 1865, Oil on canvas.
u nknown. 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.
