COLOR FACTORY POP-UP’S RAINBOW CONNECTION
Less than two weeks before the launch of her latest creative endeavor, Jordan Ferney was sitting on the ombre-painted steps of an enormous ball pit filled with 207,000 yellow plastic spheres. “Witness the delight!” she says, pointing to her nieces and nephews cavorting nearby.
Soon, as many as 700 people a day will be able to enjoy the ball pit, too. It is among the 15 or so site-specific works at the Color Factory, opening on Aug. 1, and promising an experiential journey across the spectrum.
The project is scheduled to run through Aug. 31 on two floors of a building that — thanks to Ferne ya nd co-collaborators artist Leah Rosenberg and graphic designer illustrator Erin Jan g—is now a bright spot on a downtown San Francisco street. Literally. The facade boasts kaleidoscopic bands and a playful yellow gate that hint at what’s inside.
This isn’t the first time that Ferney has dreamed up an otherworldly spectacle. In November, to celebrate the 10-year anniversary of her design and lifestyle company, Oh Happy Day, she enlisted Geronimo Balloons to adorn the exterior of her Mission District headquarters with thousands of compostable balloons in varying shades and sizes.
The 12,000-square-foot Color Factory has been a much grander undertaking. “Our goal was that every exhibit be three things,” Ferney says. “It would be conceptual; very photogenic and do well on social media; and be an experience that you couldn’t get anywhere else.”
On the lower level, where the Color Factory adventure starts, a striped scratch-andsniff wall offers visual stimulation as well as memorydriven interaction. The swath of green, for example, evokes freshly cut grass.
Childhood nostalgia appears to be a recurring theme. A giant version of a Lite-Brite occupies one room, while another is essentially a coloring book come to life. The latter is covered with black line-drawings of green objects, such as frogs and trees, by Andrew Neyer and Andy J. Miller. Guests are encouraged to pick up a green marker and contribute. Of course, the markers are no ordinary markers: They stand about 6 feet high.
Next, marvel at and walk through Swedish artist Jacob Dahlgren’s large-scale installation, composed of 10,000 multihued lengths of ribbon, each measuring 10 feet.
Upstairs, a lavender room showcases English artist Tom Stayte’s genius. A printer churns out small, just-snapped portraits, adding to a huge pile of selfies on the floor every 10 seconds. It’s up to the individual to decide the level of engagement: Take your picture with you, leave it behind or hit the ground to make a snow angel (which Stayte has observed).
The finale is a preponderance of yellow. Here, the ball pit is the primary attraction. The surrounding walls feature illustrations and palette-inspired jokes by Carissa Potter of Oakland’s People I’ve Loved (“What do you call singing mustard? Celine Dijon”).
Near the exit, a gift shop purveys only yellow goods, and a Garden Creamery soft-serve station doles out mini-cones in flavors like saffron and roasted pineapple. Other gratis treats visitors might encounter include morsels provided by Craftsman and Wolves, Doughbies and Chantal Guillon, along with a Pressed Juicery refresher.
Despite the wonders within, Ferney is particularly giddy about an experience to be had outside the Color Factory: a neighborhood map with 17 specially curated stops. Some are free, others involve a purchase. Savor Golden Gate Fortune Cookie’s matcha-flavored treat or Boba Guy’s strawberry cream drink. At Sutter Nails, ask for the Color Factory treatment for a rainbow manicure. There’s even a venue for a dance party. In a tiny space that can accommodate only a few folks, revelers choose from 18 songs, among them “Blue Suede Shoes” by Elvis, “Green Light” by Beyoncé, and “Paint It Black” by the Rolling Stones.