The breathtaking sculpture, Garapata, was constructed in 1978 by renowned sculptor John Keppelman. Keppelman is a former professor at Western Washington University; the same place where his famous sculpture Garapata resides. Although Keppelman is a sculptor, he also paints and has had paintings showcased in museums.
Garapata is located in the woodsy part of south campus, just outside of Fairhaven College. It is directly in front of gigantic emerald green trees. The sculpture itself is bright white color, resembling cotton. Although the color resembles cotton, the structure of the sculpture is anything but soft; it is jagged and ridged in most parts. To the naked eye, Garapata resembles an unfinished piece of origami art with folds and cut edges. However, Keppelman described that he did not have much of a vision, other than improvising and having the finished product be a surprise.
Garapata is part of a series of sculptures which have a geometrical, abstract, origami-like design and were created with no specific vision. The incandescent glow of Garapata creates a certain degree of simplicity which causes the sculpture to sit peacefully in front of the calming trees. By placing Garapata in front of a forestry area, Keppelman  emulates the natural surroundings of his childhood as an adult reflecting on those memories, which imbues the sculpture with a deeper meaning of nostalgia and loss on top of the reflection of the beauty of nature.
Looking at this sculpture in the context of the 21st century reveals a sense of quiet reflection and contemplation, a welcome repose from the blindingly fast paced times we live in. The Smithsonian Institution describes the sculpture as composed of shapes that suggest soaring motion. Further research reveals that sense of movement suggests the ability each person has to rise above the gravity of negativity and prejudice and to become the best person one can be. Garapata can be read with an environmental lens which suggests the delicate nature of the planet serves as the reason why we must preserve its charm.
To perfectly achieve the unfinished and origami-like appearance of Garapata, Keppelman  worked with an automatic method in which he cut and fold paper to create simple yet abstract shapes. However, one recurring motif in Keppelman’s art which is also present in Garapata, is artwork examining mortality. In Garapata, Keppelman intended to invoke a “dramatic California setting, a river and canyon which intersects with the Pacific Ocean which he knew in his youth,” (University Public Art Collection) thus connecting his childhood to the future, where he knows mortality is inevitable.

Credits:

Sarah Quy– Took pictures, contributed content to post, produced post Ruby Trinneer– Edited pictures and contributed content to post