Robert Wyland, the renowned Florida artist known simply as “Wyland,” was immersed in his creative process in the Florida Keys recently when his assistant delivered some unsettling news.
The 69-year-old has gained worldwide recognition for his series of “whaling walls,” expansive murals that grace various locations in the U.S. and other countries. These murals, often depicting the majestic creatures of the sea, have become integral to the cultural landscape of many cities, providing a serene contrast to urban chaos.
In the late 1990s, Wyland completed a notable mural named Ocean Life in Dallas, Texas. At an impressive 82 feet, it quickly became one of his most cherished works. Over the years, the mural developed a loyal following, but it also began to show signs of wear as the vibrant colors dulled and cracks appeared.
Although Wyland regularly refreshes his works, he had not yet gotten to Ocean Life until he received the alarming update from his assistant.
“She informed me that someone had called to say they were covering it up, or perhaps blue-washing it,” Wyland recounted. “I was taken aback. It was completely unexpected.”
Photos of the altered mural soon appeared on social media and were sent to Wyland. It remained unclear why this beloved public artwork was being removed, leaving him and his foundation in a state of confusion. While some of his pieces have vanished over time due to building demolitions, neither Wyland nor his team had been consulted about the mural’s fate.
This situation has led to a confrontation with FIFA, the globally dominant sports organization, alongside a local organizing committee, igniting a vital conversation regarding public art ownership and significance.
Wyland soon discovered his mural had been completely painted over to make room for a new piece promoting the upcoming FIFA World Cup. In response, his team swiftly filed a cease and desist order, followed by a lawsuit against FIFA demanding $25 million in damages.
“This is definitely a David versus Goliath scenario,” Wyland expressed. “They are a multi-billion dollar organization, while I’m just a solitary artist with a modest foundation. But I can assure you, they chose the wrong artist and the wrong piece of art. I refuse to let them walk away unchallenged.”
Wyland’s passion for marine life ignited at 14 during a family trip to California. Growing up in Detroit, his exposure to ocean life was limited, but a visit to Laguna Beach introduced him to a pod of grey whales on their annual migration—a journey spanning 12,000 miles from the Arctic to Mexico. Witnessing them breach the surface captivated him, leading him to admire the legendary oceanographer Jacques Cousteau.
Shortly thereafter, he took on his first mural project. He had long harbored a love for art, but when a teacher asked him to paint a snowy mountain scene on the side of an ice cream shop he owned, he jumped at the chance. That job earned him $100, and over the next several years, he sought out any artistic work available, ultimately moving to California to pursue art full-time. At one point, he even survived on just a single Snickers bar each day.
Throughout the last fifty years, Wyland has dedicated himself to promoting ocean conservation through his whaling walls. His inaugural mural debuted in 1981 in Laguna Beach, not far from where his fascination with whales began. That artwork—a California grey whale swimming alongside her calf—was an immediate success, inspiring Wyland to aim for a total of 100 murals. After 26 years, 11 months, and five days, he accomplished this goal, with murals spread across 17 countries.
The recent destruction of his Dallas mural has ignited significant public outrage. Due to the multiple stakeholders involved—including the North Texas World Cup Organizing Committee, the city of Dallas, FIFA, and the building’s management—assigning blame has been complex. Few parties have publicly commented, while the city claims it contacted Wyland about the mural’s fate, a statement he vehemently denies.
Wyland believes he knows where the responsibility lies and hopes his lawsuit will reveal who decided to erase his artwork.
“FIFA needs to be honest about this situation,” Wyland asserted. “They are at fault. They claim otherwise, but does that sound credible? It is their event.”
Wyland’s lawsuit references the Visual Artists Rights Act (VARA) of 1990, which protects artists of recognized stature from the intentional or negligent destruction of their work. The $25 million he seeks would be a record amount in a VARA case, with Wyland pledging to donate any winnings to charity.
“At times, money is the only language that resonates with people,” Wyland noted. “The amount needs to be significant enough to alert those who come into a community and wipe out an artistic piece that holds deep meaning. Artists’ rights extend beyond the individual; they encompass the public art that brings joy to the communities that cherish it.”
Currently, work on the mural has ceased, and all parties are shifting blame. The building’s owners clarified that they merely provided space for a public art initiative and are not profiting from it. Meanwhile, FIFA has distanced itself from the situation, stating that they have had no involvement and redirecting all inquiries to the local organizing committee.
The organizing committee has acknowledged communication failures and cleared FIFA of liability, while Downtown Dallas, Inc. (DDI), the local economic development agency, has sought to separate itself from the controversy, claiming its role was limited to early discussions regarding FIFA’s mural.
However, emails recently obtained by the Dallas Morning News paint a conflicting picture, revealing a DDI employee suggesting Wyland’s mural as the ideal location for a World Cup mural.
“The current mural there is over 30 years old and past its useful life,” the email stated.
Wyland countered, “Is the Mona Lisa considered past its useful life? Would you argue that a Van Gogh has reached the end of its utility? My murals have been part of the landscape for years. While they may have faded or cracked, who determines that they are no longer valuable on behalf of all Dallas residents? They will try to spin this narrative.”
Unanswered questions linger, including the most pressing: if FIFA or the organizing committee aimed to promote the World Cup, why not utilize a temporary solution to cover the building? There have been instances where Wyland’s work was temporarily obscured by advertisements before reappearing during the pandemic.
Wyland hopes to find clarity through legal proceedings, where he intends for his attorney to “follow the money.” He has stated that even if given the chance, he likely would not recreate the mural, as replicating such a large piece at his age would be a monumental task.
Details regarding what the local organizing committee intended to replace Wyland’s mural with have yet to be disclosed, and given the backlash, it remains uncertain whether any new artwork will ever materialize.
For Wyland, the outcome is less significant than the emotional impact of losing what he considers his creation.
“These walls are like my children,” Wyland reflected. “This loss is deeply personal to me.”
