Q: What was the process like in transforming the artwork of the car into the coloring sheets? Were there any challenges or surprises along the way?

Kearin:
The process was pretty straightforward for the most part. I stuck to using landmarks that I had painted on the car, so that the coloring book and the car could stay related. But I saw the coloring pages as an opportunity to add more detail—something I couldn’t fully do on the car itself. For example, I changed the perspective in a lot of the scenes, added more background elements, more people, and little details that would give people more to color. I really wanted the coloring pages to be fun and engaging, so I added those extra details to give people more opportunities to be creative.

Q: How do you think the coloring book changes the way people interact with your art, compared to seeing it on the car?

Kearin:
That’s a great question. I think the coloring book makes the artwork way more interactive. When you’re just looking at a piece of art, it’s easy to scan over it without noticing every little detail. But when you’re actively involved in creating it—by adding color, for example—you start to notice all the small details that maybe you wouldn’t otherwise. With the coloring book, people can get up close and make decisions about how they want to bring the artwork to life. It gives them the chance to engage with it in a way that’s more personal, which is really cool.

Q: How do you think this coloring book allows people to interact with public art in a new way?

Kearin:
The coloring book really gives people the chance to reimagine the artwork in their own way. For instance, the heads of the presidents in the original artwork are white, but I doubt anyone coloring the book would leave them white! People get to add their own touch—whether it’s with color or how they interpret the details. That’s something you can’t do with public art that’s already been completed, so I think this project allows people to connect with the art in a more hands-on, creative way.

Q: What do you hope people take away from these coloring pages? Is there a message you’re hoping to send?

Kearin:
One thing I hope is that it encourages people to go out and see the art in real life, especially for anyone who hasn’t had the chance to see these works in person. I tried to make sure the artwork in the coloring book looked like something that people would want to visit. It’s not just about the coloring itself—it’s about getting people interested in the art they can see in their own city. If people are inspired to explore Houston’s art scene, or just get outside and experience more public art, then I’d consider this project a success.

Q: Can you share a bit about your personal connection to the Houston art scene and how that influences your work?

Kearin:
Yeah, so I’ve actually only recently moved back to Houston about four years ago, but I’ve lived in the art district for a long time. Growing up surrounded by this public art, I think it sparked my interest in murals. I love the idea of creating something that’s visible from the street, something that might catch the attention of people who wouldn’t otherwise go out of their way to see art. It’s about making art accessible—people can engage with it without even thinking of themselves as art lovers. I think public art has the power to expose people to new perspectives, and I really enjoy that about my work.

Q: How does it feel to see your art being used in such an interactive way, and has it changed your perspective on art-making?

Kearin:
It’s been really rewarding, especially seeing how kids interact with the coloring book. At the Bayou City Arts Festival, we had kids coloring the same page, but every single one was so different. That was really cool to see—people bringing their own personalities into the artwork. As for my perspective on art-making, I don’t know if it’s drastically changed, but I think this project has made me more aware of how people can connect with art in ways I hadn’t really considered before. I definitely think I’d be open to doing more interactive projects in the future. It’s a whole new way of thinking about how people experience art.

Q: What was your favorite part of working on this project, and is there a particular detail or moment you’re most proud of?

Kearin:
My favorite part was definitely getting to add a lot of detailed line work, which was something I really loved about the car artwork. The page I’m most proud of is probably the one of the La Virgen de Guadalupe at MECA (Multicultural Education and Counseling Through the Arts). I spent a lot of time on that particular page, and I just love all the intricate details—the seams, the cans, the bricks on the building, even the leaves in the background. That page, for me, was the most fun to work on, and it’s probably the one I’m most proud of.

Q: Lastly, how do you think this project has impacted the Arts District and the community, especially in terms of exposure to public art?

Kearin:
I think it’s had a really positive impact, especially in terms of bringing more attention to public art. It’s a great way to get kids interested in the arts, especially since kids are naturally drawn to creativity. They love to color, and now they have a reason to explore public art. If this project inspires people to go visit the places we’re depicting in the coloring pages, or even just to engage with the neighborhood in a new way, then I’d say it’s definitely a success. Public art is so important for the community, and I think this project helps expose more people to it, especially those who might not normally seek it out.