Welcome to the virtual gallery for
Meeting Points

This is the online gallery of artwork descriptions— in audio, text, and images— for Meeting Points, Rae Lanzerotti’s 2026 art show at the San Francisco Disability Cultural Center (January 10 to July 10, 2026).

What is on this page:

  1. Locating Meeting Points. If you visit in person, listen to “Locating Meeting Points,” (2 minutes) that describes where you’ll find the artwork in the SF Disability Cultural Center. Click on the first audio block below.

  2. About Meeting Points. If you seek only my artist statement, "About Meeting Points” (5 minutes), scroll to the end of this gallery page for both audio and text.

  3. Artwork descriptions. If you prefer to skip around to each artwork description selectively, scroll this page at your own pace. Each piece in Meeting Points is here with its title, a text description, an audio description, and a photo showing part of the artwork. If you visit in person, the numbers before each artwork title match the display location map.

  4. Everything. To listen to ALL material in the Exhibit Guide as a continuous audio file, click on the second audio block below. The “Audio Exhibit Guide” (35 minutes) begins with “About Meeting Points,” my artist statement; then maps the art locations in Meeting Points show; and concludes with the full set of artwork descriptions in many voices.

Thanks for visiting!

[1] Path Uncertain

This is a disorienting point-of-view of a cracked sidewalk. It’s as if the viewer is walking forward toward smoother ground while navigating uneven surfaces directly ahead. Inside what could be a giant “panel comic” outlined in black paint, a color gradient moves from dark greys and blues at the bottom of the canvas into lighter greys brightening toward the middle and top. Textured fragments from tactile photos of sidewalk pavements are collaged onto the painting. Striated corner pieces at bottom change into dense shards at middle and smoother, large panels at the sidewalk junctions toward the top. An olive-green tree trunk grows along the left side of the painting, with textured flowers scattered at its base. Flowers are poppies and enlarged blackberry blossoms. In the bottom right, a textured, round utility panel shows the word: ground. Dimensions: 24” x 36” x 0.75". Materials: tactile “swell" paper, acrylic paint, adhesive, canvas (wood frame). R Lanzerotti, 2025.

[2] Level Three (Yellow)

Level Three Yellow, with the word yellow in parentheses, is the title of this artwork. It evokes stepping up to the edge of a sidewalk curb that is textured with bright yellow safety bumps, pavement lines, and plants growing in the cracks. Funky depth perception yields intriguing angles and textures. There’s a round utility cover imprinted with the words “level 3,” which is collaged onto the middle of the canvas. Above it is a postcard-sized photo collage of California poppies. The left side of the canvas offers a close-up of yellow safety bumps and sidewalk lines. The right side hides fuzzy orange petals, in front of a dozen diagonal bumpy lines that lead toward a curb. Dimensions: 12” x 24" x 0.63. Materials: tactile “swell” paper, printer paper, acrylic paint, adhesive, bookbinding thread, canvas on wood frame. R Lanzerotti, 2025.

[3] Ground (Grey)

The guiding subject of Ground (Grey) is a round, metal utility cover in the top left quadrant of the panel. It is imprinted with the word “ground.” The circular shape of the utility cover carries into other elements of the collage, including spiral sidewalk graffiti on the right side and half-circle of a sewage drain on the lower left. (There’s a more subtle utility cover hidden in the upper right quadrant of the panel.) Scattered poppies and dandelions that grow through sidewalk lines may be found here. Dominant colors are grey and brown, with poppy greens and bright orange around the edges. Dimensions: 12” x 12” x 0.75”. Materials: tactile “swell” paper, adhesive, cradled wood panel. R Lanzerotti, 2025.

[4] Leaves (Brown)

The main subject of Leaves (Brown) is animal tracks imprinted on sidewalk concrete. Three- toed “bird” tracks run vertically up the center right side. Sets of paw prints, perhaps from two dogs, decorate the left side. At the center of Leaves (Brown) are a single brown oak leaf and a light-yellow maple leaf. A pile of fallen leaves sits at the upper right edge. The bottom right corner holds two small, dried leaves tangled in green-grey frothy plant stems. In the upper left corner, there’s the edge of a rectangular utility cover. Rectangles delineated by a sidewalk utility cover and “contraction joints” cross the panel, with a downward pointing triangular shape made at center where collaged pieces converge. Dimensions: 12” x 12” x 0.75”. Materials: tactile “swell” paper, adhesive, cradled wood panel. R Lanzerotti, 2025.

[5] Opt (Yellow)

This piece is titled Opt Yellow, that’s O-P-T with the word “yellow” in parentheses. The composition suggests visual distortion, using layered photomontage, textures, and adhered elements (such as safety strips and bump dots). On the right side of the canvas, blue lines make awkward shapes on the black asphalt of a parking area. Above this, there’s a raised and rough curb line, plus triangles of bright yellow bumps. The bumps appear to be textured, but here the artwork surface is smooth. On the left side of the canvas, find a grid of twelve large plastic tactile bumps. These contrast with the sprawl of a plant that grows below a set of horizontal pavement lines. The central panel of the canvas presents square storm drains that hold a small, tactile collage. On a weathered, pink sidewalk curb (which most likely used to be red) four letters show up: O, P, T, and T again. Dimensions: 12” x 24" x 0.63”. Materials: tactile “swell” paper, copy paper, acrylic paint, adhesive, canvas (wood frame). R Lanzerotti, 2025.

[6] Tracks Tryptic

Bordered by light yellow canvas, this tactile photomontage creates an awkward and subtly textured sidewalk. Contrasting light and dark areas form raised lines into geometric shapes: squares, triangles, and trapezoids. Against a grey and brown background of grainy pavement, small, lifted areas arise from plants and animal tracks. These are embossed, raising what had once been imprinted on a concrete surface. Dogs’ lumpy paw prints are center left. Growing along a rough sidewalk, the top left offers a fine matrix of green plants. On the right panel, a dozen sets of spiky bird tracks walk in a vertical line toward the top of the canvas. The top right corner holds a pile of smooth leaves, without texture. Two tactile leaves fallen onto the pathway nearby can be felt as small ovoid outlines. Sticking out from a slice cut along a sidewalk crack at the artwork’s center, find a bright orange California poppy and a bumpy bumble bee. Dimensions: 12” x 24” x .05”. Materials: tactile “swell” paper collage, adhesive, canvas. R Lanzerotti, 2025.

[7] Guide Lines

Overlaid tactile photos repeat patterns made by sidewalk safety guidelines, which are used as detectable warning surfaces and a tactile alert that we are approaching traffic crossings. Among these parallel lines, the black lines are raised and create linear textures. Colors are grey, beige, brown, blue, and black. Two smooth, large, bright-red poppies burst through the lines. Find the poppies on the top left and middle-right of the artwork. Also find textured green paper, in the shape of leaves, in the bottom right corner. Scattered, flat images of small yellowish leaves appear in a few areas of the piece. The surface beneath this photomontage is translucent and covered with tactile paper on its front side; some hidden elements and layers would be visible only by shining light through or by overturning the entire artwork. Dimensions: 20" x 30” x 0.16”. Materials: tactile “swell” and copy paper collage, adhesive, corrugated plastic panel. R Lanzerotti, 2025.

[8] Blue Trick Tip

This photomontage, titled Blue Trick Tip, presents a tryptic or three side-by-side images. They are tactile and textural photos of cracked sidewalk surfaces in blue and grey colors. Raised blue and black lines create subtle textures and geometric shapes, evoking the uneven pavements that can catch on the tip of a navigation cane. The left side of the canvas is bright at the top and shadowed below by a pattern of leaves. The right side holds smooth, diamond-shaped areas centered around a blue drain cover. At the artwork's center, find edges of sidewalk cracks and lift them to find hidden textural elements inside. Dimensions: 12” x 24” x .05”. Materials: tactile paper, acrylic paint, sandpaper, bubble wrap, adhesive, canvas on wood frame. R Lanzerotti, 2025. 

[9] Orange Corner

On a reddish-brown painted canvas, this is a collage of textured and smooth papers. A mixture of smooth and tactile papers is printed with the strong geometric lines of concrete striations. A giant orange poppy grows between the lines. Dimensions: 8” x 10” x 0.5”. Materials: acrylic paint, collaged paper on canvas. R Lanzerotti, 2025.

[10] Bernal Greetings (Yellow)

Bernal Greetings (Yellow) arrives at the edge of a sidewalk curb. The composition offers a distorted perception of depth and direction matched by bright colors and strong geometries. The subject is a curb cut, with parallel navigation guidelines in concrete plus the yellow bumps, known as “truncated domes,” that indicate a street crossing. A street name, “Bernal Heights” is carved into a triangular grey portion of sidewalk on the right side, next to a central rectangle of bright red curb painted with the words “SFMTA.” Yellow is a dominant color, with abrupt angles created by layering. Caution! The collage stacks yellow triangles onto each other on the left and lower side. Grey triangular portions of sidewalk cover the right and upper side of the panel. Dimensions: 12” x 12” x 0.75”. Materials: tactile “swell” paper, adhesive, cradled wood panel. R Lanzerotti, 2025.

[11] Yellow Corner

On the background of a light-yellow painted canvas, this is a collage of textured and smooth papers. The paper is printed with the strong geometric lines of concrete striations. In the lower left corner, as if emerging from behind the concrete, there’s a small rectangle of brighter yellow truncated domes like those at a street crossing. Dimensions: 8” x 10” x 0.5”. Materials: acrylic paint, collaged paper on canvas. R Lanzerotti, 2025.

[12] Path Brightens

A photo-montaged painting on three panels presents the perspective of walking forward toward brighter ground while navigating uneven surfaces. Sidewalk lines painted in grey enclose color gradients that lighten from bottom to top, from dark blues to lightest greys. A tree trunk grows along the left side of the painting. Collaged swell paper textures include concrete, utility covers, flowers and other plants. Dimensions: 24” x 38 x 1” three boards hung vertically with 1” space between the panels. Materials: tactile “swell" paper, acrylic paint, adhesive, cradled wood panels. R Lanzerotti, 2025.

[13] Eyes & Hearts

You are invited to gently touch the artwork, which is in four separate pieces. A photomontage of details from textured sidewalk graffiti has been enlarged onto square panels. Two of these pieces show a single eye. The eye is represented by a dot inside a circle and topped by vertical lines of upper-eyelid lashes. One of these eyes imprints over faded red abstract squiggles on a dark grey speckled surface. The other shows up against a white speckled surface that feels bumpy to touch. The other two pieces in this series present heart shapes on pavement. One heart is carved into concrete at the intersection of four sidewalk squares, as indicated by raised lines. The other is surrounded by a rough, dark grey surface that centers a pink, smooth, and heart-shaped leaf. Dimensions: Four panels, each 8” x 8” x 0.75”. Materials: tactile “swell” paper, adhesive, cradled wood panel. R Lanzerotti, 2025.

[14] Bubbling Up

“Bubbling Up” is an assemblage, or collection, of a dozen letter- and postcard-sized prints and drawings. These rectangular and square prints are made on tactile paper, printmaking paper, and reused packaging paper. Taped to the wall, the configuration is changeable. Patterned prints made from bubble wrap and corrugated cardboard echo sidewalk safety bumps and lines. Many include bright, sunshine yellow as well as sky blue, moss green, and concrete silver. Some pieces include texture, and others are smooth. There's a blackline drawing in the style of a comics panel showing a broken sidewalk. There’s a black-and-white, tactile “swell” print made from a photograph, featuring San Francisco’s iconic Sutro Tower above Twin Peaks and Noe Valley. R Lanzerotti, 2026.

[15] Bloom Californica

This piece gathers orange and green California poppies, in paint and collage. Decorative elements traverse four grainy, oak panels that may be arranged in a variety of configurations, like a big wooden puzzle. Outlined in raised black paint, you’ll find: a single, fiery-orange poppy as wide as a handspan; a long, narrow, green seed pod; blue-green leaf clusters; and a winding, stylized vine of four orange and gold blooms. Tactile photos of poppy ground cover embellish every corner. Dimensions: four panels, each 9 inches by 13 inches, quarter-inch thick. Materials: oak book-cover boards, acrylic paint, tactile paper. R Lanzerotti, 2025.

 

[16] City Cane Travels (Soundscape)

Excerpted transcript for the 18-minute soundscape, which begins at a corner street-crossing with an electronic signal and voice.
[Start sound] … beep. Wait. beep… beep… Wait. beep… beep… beep… Briiiiiiing! beep… Streetcar bell loudly trills once… tapping sweep, swipe! tap, tap, gritty sound of cane sweeping across surface of a sidewalk…. Swipe! Tap, tap! percussive over a metal grate… lighter sweep, tap, tap, car engines accelerating, metal grate, sweeping rhythmic taps.… Two voices in the background: “Yeah I think they are, right?” “Yeah.” “Yeah.” Then “Hello!” “Hello.” 
Download full transcript (PDF) of City Cane Travels here.

[17] Pavement Poppies

Petals of bright red poppies and their textured leaves sit in split sidewalk cracks near a storm drain and abandoned crate. Dimensions: 12" x 24” x 1.5”. Materials: tactile “swell” paper, printer paper, acrylic paint, adhesive, bookbinding thread, canvas on wood frame. R Lanzerotti, 2025.

[18] Utility & Beauty

On a rectangular, dark grey background, there is a scattering of bright orange and red flower shapes, poppies, blackberry blossoms, and three circular utility covers (as for local water services). These touchable elements represent plants and objects that may be found growing through or embedded in sidewalks. Dimensions: 16” x 40”. Materials: mounting board, tactile “swell” paper, copy paper, sandpaper, foil, acrylic paint. R Lanzerotti, 2025.

About Meeting Points

You’re invited to touch the artwork. It started out as touchable memoir comics. Making comics more accessible for blind and partially sighted people, I experimented with audio, drawing styles, and tactile materials. I wondered about using disability access tools artistically to go further with colors, lines, and textures for the tactile photomontages of Meeting Points.

Of necessity I pay careful attention to San Francisco sidewalks and curbs. I walk in my neighborhood along the widening circles that reconnected me to the outside world after covid shutdowns and sudden vision loss. What happens along pavement cracks creates navigation obstacles and hazards as well as emergent beauty and tiny ecosystems. These are meeting points. 

Humans use concrete as canvas, leaving our marks carved and painted. We embed and cover our essential utilities beneath pavement. Yet plants and insects still appear at broken seams, finding light and air. As I navigate my neighborhood, I join the unseen histories and tangible encounters among organic bodies (me, creatures, soil) and manufactured devices and surfaces (cane, sidewalk, asphalt, metal).

Cripping the cracks, I photograph the utility and beauty I find on the ground. I print my photos using a disability access tool, a capsule “swell” printer that applies heat to create raised lines. “Swell printing” is a tactile printing process used for instructional and technical materials with people who are blind and partially sighted. I apply this access tool artistically, with attention to how I see and what I want to consider closely.

My tactile collages exaggerate and transform ways of seeing with texture, shape, and line. I find geometries and textures in concrete striations, uneven pavements, and yellow corner bumps. I rearrange the patterns of utility covers that hold urban stories and aesthetic delights. On some, I’ve added hidden elements. The tactile parts are bold for some pieces and subtle for others. Bright colors show within concrete greys and blues. Hard surfaces of local streets soften into touchable paper when I transfer images to form.

Disability justice needs interdependence, and this access art is not a solo endeavor. Thank you to everyone involved in the work. I wrote the artwork descriptions for Meeting Points that were recorded by: Adam Rose, Ann Fox, Ashley Harris, Esther Landau, Hannah Hayes, Jillian Sandell, Marguerita Lightfoot, NGC Karen, Peter Conheim, and Peter Rothblatt. Gratitude for help with exhibit design and installation to: Ann Fox, Ariel Zaccheo, Bozho Lasich, Chad Abbley and Dagny Brown. Special thanks: Monica Lee, Aiko Cuneo, the Creative Re-Use community, and Carol Cantwell.

Questions for contemplation and activation of Meeting Points:

  • What is a path you travel regularly? What textures and patterns do you notice along the way? What do you hear, feel, smell, see?

  • In what ways does Meeting Points reflect or influence your understanding of disability and access?

  • What would you have done differently in making artwork about these kinds of meeting points? What meeting points would you have included?

  • How does Meeting Points connect you to collective access, civic life, creativity, or any other calls to action?

  • After visiting Meeting Points, are there any materials, artistic elements, or themes you’re curious to learn more about?