Panel reviews three finalists for Portland Harbor Common public art

[0:41] Artist (Presenter): It's for the kids, they're sleeping good. [1:29] Xiaohuang (City Staff): Evening everyone, I'm Xiaohuang, city staff. It's a nice meeting. This is a selection panel for the public Portland Harbor Common Park. It's being held hybrid, so there's a remote option to log on. We also have individuals in the room. So we'll do the call order. So I'll start with from Jen Daigie. Here. Stevie Cole. Here. Nathan Brazy. Here. Kat Zegaria-Hepson and Justin Levan. So agenda and packing materials were shared in advance of this meeting. I wanted to give a brief introduction. So welcome everyone to tonight's meeting for the new public art acquisition at Portland Harbor Common Park. The selection panel was invited three finalists to present individual concepts for public art in the new Waterfront Park. City staff will help facilitate the meeting, lead finalists to and from their own. After each presentation, there will be a public comment period to allow the artists to respond to any public comment. And our chair of the selection panel, Chair Dennehy, will provide opening remarks and introduction to each artist. A couple housekeeping items for any members of the public, please be mindful that we will take public comment after each artist presentation and that already comments were published to the agenda center for our meeting so that concludes my introduction one [3:28] Unidentified speaker (Panel Member): thing I just remembered from Justin Howard trying to join remotely so he's hoping okay [3:37] Xiaohuang (City Staff):, Sharon, would you like to silence your thought? [3:46] Speaker D (unidentified): Right over here. Bells and everything. [3:52] Chair/Presiding Officer: Somebody checking on my phone. Well, we'd like to welcome everyone. One of our goals in public art committees, it's BD and cat and all of us have been working is to increase our outreach and communication for the committee. And the selection committee came up with the request for proposals and we received 97 exceptional proposals. So we were really proud of that and it felt like we had a close assembly of our goals there with a greater outreach all across the United States, continental United States, Hawaii, Spain, Argentina. So it was quite the daunting task and we did bring a selection back to the committee as a whole for their input and then decided on the final three. And the first of those final three to give their presentation is Gabriel. [5:01] Artist (Presenter): Thank you to City and my board for allowing me to present today, and for it's a huge, not really great at analog, so I probably won't use the entire. But I'm going to start out with a traditional Wabanaki greeting, which is Nduliwis, Gabriel, Frey, Muska, Mukati, Nel, Njiao, Tzibaye, Maka. And what that does is it introduces myself, who my people are, and where we call home. And so in a traditional sort of any sort of gathering, that creates half the circle and then allows the person that you're introducing yourself to then fill the circle, creating a connection. So that's a way of both connecting people to people, but also people to place, and that's sort of the theme of this piece as well, not only honoring Wabanaki history connection to this particular land, but also people that call it home today, and honoring the shared history of the sort of continuation of a working waterfront through a millennium. So it's obviously a spearfishing, but he's not actually actively spearing the fish. He's posing, he's holding, seeing the fish already, and that is a physical representation of one of our traditional ecological practices of preserving for future generations. So it's you never take the first of anything, you will never take the last. You always need some for future generations. And that's sort of the entire spirit of this activity in thinking about future generations, even in creating a monument that is representative of Wabanaki people, is leaving something for future generations of Wabanaki youth schemes, but it's also reaching out to the people who are adjacent to this park, the people who are working the bar front today, who are actively bringing in fish and everything, representation of a story of history in this particular area that's still in continuation, and it's sort of like reliving and re-experiencing this public space for different purposes and different activities. That's a little bit about the cultural context of the thought behind this particular case. The idea of bronze came from this. There are tons of monuments that express all kinds of views, histories, not only throughout the state of Maine, but also throughout the city of Portland. Absent is some sort of expression of indigenous culture, indigenous history, and it's a way of positioning it in this Same dialogue with all of these other cultures and expressions and stories that we have, and not for allowing it to be absent anymore. So continuing that and my particular history of this, I've, I've spent the last six years on a large public project where I worked with architects and engineers and other artists who combined all of our faceted works together to create a large-scale piece for the public. The places where I didn't know how to accomplish something was about finding partnerships,, creating the shared tools to accomplish a shared goal. The same thing here. I'm partnering with Moonwood Casters, who is a local foundry just outside of the city. So it's also contributing to the local economy, but also using their years long expertise in public casting, public art pieces, all over the state and all over the country. I think their most recent one, White House Games. And so this piece is really a huge opportunity, I mean the public space itself is a huge opportunity University of Portland, but then also choosing this particular expression for that public space is a unique opportunity to highlight shared cultural values throughout the state for future generations and also honoring past generations as cultural alliances, but having that in this space that's both between a working waterfront and a public-facing air landing like bringing shared values of the community on display right there at the waterfront and helping to sort of change the perspective of this missing in our shared culture. Yeah, time for some questions again. Thank you so much for making the time. [11:12] Chair/Presiding Officer: Thank you again, that was fascinating. Did we have at this point in time public comment? [11:18] Public Commenter: I'd like to make a public comment. Good, yes please. Yeah, should I just stay here? Let me [11:23] Xiaohuang (City Staff): Yeah, you're having a glad public comment, please let me hear your comments. We'll take public comment in the room, and then we can go online if any individuals want to. Please introduce yourself and let us know where you're from. [11:40] Lucas St. Clair: Great. Thank you so much. My name is Lucas St. Clair. I'm the president of Elliott's Build Foundation. We're a private operating foundation focusing on environmental justice and rural economic development. We're based here in Portland, and I've lived in and around Portland for the last 25 years. Years. I've known Gabriel for eight years, both professionally and personally, and was a collaborator with him on this last project, which was Degagar Bima, which is a contact station in Catawba, Tabata National Monument. Through that process, I was exposed to Gabriel's artistic thinking, his cultural perspectives, and an incredibly efficient and thoughtful approach to collaboration. It was a very difficult project, lots of different components to it, and Gabriel was able to work with all of the different facets to complete the projects on time in an incredible fashion. It really elevated the entire experience and the visitor experience as well. And then being a lifelong Mainer, and one thing that I really have become aware by working with Gabriel and others from Wabanaki community is that the cultural representation of Wabanaki communities throughout Maine is really lacking. When I travel to other places around the country, it's very clear when you're in Indian country, there's, it's quite obvious through the art and cultural interpretation. And I think that's a real opportunity, especially for the city of Maine, which is one of the most visited tourism destinations in the country, and when visitors come here and approach the waterfront and get to learn about the Wabanaki culture and the fact that Wabanaki people have been living here for many, thousands of years, it would be extraordinarily important. And then on a side note, the L.H. Field Foundation is the founder of the Portland Parks Conservancy, so we've been working on this project for many years and very excited to see it get to this phase and Jack Phillips and I have been doing a lot of work in Washington trying to get our congressional delegation to keep sending money back to this project and it's great to see it coming this far and the consideration falling hard in the parties thank you so much for today's [14:05] Chair/Presiding Officer: Thank you for taking the time to come and speak. Absolutely. Do we have any thoughts in the room? I have some questions. [14:13] Unidentified speaker (Panel Member): The two sculptures that we're looking at are very different. And I wondered first if you actually sculpted these and what the result might be. [14:26] Artist (Presenter): No, this is a digital representation from a sketch. This is a study of posture, so in thinking about what the exact posture is for the waiting, it was, it's, this was one that I arrived at that felt right, and it's still in its sort of study phase. This is something again, the texture and everything is a quarter of the way finished. It was really just to bring a physical representation of what the posture looked like. That piece there is an older piece, and it's just a representation of work. [15:14] Unidentified speaker (Panel Member): So that one really captures me because the little things like the way the legs are bent and the way the posture, the ripples in the water, everything about it really speaks to [15:29] Artist (Presenter): That was my very first sketch, and when I did the wire armature for it, again, this one didn't feel great when I first did the wire armature as well, but that one in particular, the wire armature looked like a ballerina, maybe something a little bit more structurally sound, but I agree with you, I love the aesthetics of that one as well. That's why it is in still a sort of study phase of like finding something that is a lot of work. Yeah, thank you. Yeah, I do, I like that sort of posture in general while Your armature was sort of like and arrived at the spot where I was, yeah [16:18] Unidentified speaker (Panel Member): But we've been taking care of art for a long time, and most of our budget goes to the maintenance. So my only fear would be that somebody comes and steals the spear, because yeah, maybe the arm extended next to the spear, and maybe there's some way to keep it from breaking. [16:46] Artist (Presenter): Yeah, well, there was also an exploration of both hands holding this. There is something quite elegant about the posture of aiming and holding, and in further study there may be just a practicality position, because all of the postures around, I don't know if you've seen spearfishing, but you go through a lot of actions before you ever throw the spear, so there's a very rich postural, a library to choose from. This is sort of like two, but I [17:23] Public Commenter: Wonder for the subcommittee, Justin's [17:25] Unidentified speaker (Panel Member): Joined her too, so you have the, for something that I've already had public comments to me [17:36] Public Commenter: Some committee questions [17:41] Chair/Presiding Officer: Subcommittee questions, one question in talking about this beer that John brought up [17:47] Artist (Presenter): It will sit up high, it will be on it, yeah, so this raised base would be bronze, but then it would also be sitting on a three-foot base probably out of sinet, yeah, so it's not going to be exactly there, but yeah, it is a real sort of concern just in terms of any public anything [18:20] Unidentified speaker (Panel Member): I have a question. So I know you talked about the previous project and worked in bronze and see some examples. I'd love to get from you just an understanding of how it fits in with your overall artistic practice, which I understand to be quite varied, and a little bit about how you [18:40] Artist (Presenter): you got to this place. Yeah, so even in like traditional craft or traditional material art, it's, I've always viewed it as a storytelling practice because largely like the object itself isn't the final representation of work, it's the story of the materiality of the process that has never seen it, and oftentimes it involves having those discussions with people to see. And so in working in a contact station, I work in ceramics and in bronze and copper weaving, large sort of sculptures or wood carving, and all of that is a sort of extension of my artistic in practice with black ash and birch bark. The representation changes for the materiality and I think it's also just an expression of overall storytelling and sharing cultural values through different works. So my first work with bronze was working on the bronze door hand, which started out as hand-carved wooden plates, and that first expression was to have the very first thing that you touch on the building be something that was hand-carved and representative. Obviously you can't have that last for 30 years in wood, and so the next best thing was to do it in bronze. And initially it was just sort of like we send it out somewhere and then that would be that, but everything in that project was involved in sort of like how can you take this project and then basically expand the capacity within the community. And so that project allowed me to go out to LA, work with a bronze caster, learn the whole lost wax casting, and taking that wood carving and going into something that's going to last forever. And that is really where I sort of transitioned into pursuing that this will be lost wax but involving a lot more technology. So New England casters actually uses lidar technology scan the piece and then whereas like if this was traditional lost wax casting you would take the final product choose in real time where your seams are going to be, fracture it up, break it into pieces, and then cast each one of those pieces of the final pieces like that's it, and if you miscalculated where that was going To be, you're kind of, that's, that's your only shot, taking the 3D scan of that. You can do that digitally, break that apart, print each piece in wax from a 3D printer, and then cast those pieces. And then I can, I still have the ability to go in and hand texture everything in wax with working with the caster. There's a lot more versatility in that process, and it also allows like less than ours, which allows the budget to be a whole lot more. [22:11] Unidentified speaker (Panel Member): One of the things, obviously this art piece is gonna be in a no, that's gonna have pathways coming from various locations. Can you talk about, I know you have images from each of those angles, yes, but just the thought behind the placement and the views that I will have from the various sight. [22:31] Artist (Presenter): ones yeah so his orientation is supposed to be facing water and that 's two things obviously if you're spearfishing you're going to be fishing the water but then that's also facing east and Wabanaki is the dawn land. So there's an entire sort of like cultural orientation within Wabanaki culture of recognizing where the sun is rising. So there's both that, but then also positioning within this park, and what we had talked about on our site visit was the different lines of sight, light that you're going to be seeing. But this is a three-dimensional object, it has dynamic angles from every view. That is your question, yeah. [23:26] Unidentified speaker (Panel Member): One other one, so you and in your proposal you talked about some, and you set aside budget for interpretive signage, yeah. How do you envision vision that included in the in the landscape, in specifically in the landscape? So it would be like. [23:43] Artist (Presenter): More, and we even talked about this as being something that is later in terms of like plenty of time, actually like dabbling back into historical place names, but then also the name is sort of like that literally translates to fisher person, a fisherman, not a fisherman, but a human who's fishing. But then also some of the things that I envision is like one of those landscape images along the water where you can see the different islands and having the traditional name. So I'm sure they got it. So having a lot more, and I've already reached out to an archaeologist just from Mousetrap Nation who's done work and who has already excited about just delving into that. [24:44] Chair/Presiding Officer: Did Justin have any questions? [24:49] Xiaohuang (City Staff): Justin, you've joined the meeting virtually. Do you have any questions for Gabriel or your panel members? [24:57] Unidentified speaker (Panel Member): I don't, thank you. And I apologize I was late, we lost power here, so. [25:01] Artist (Presenter): So I could bring the example piece. [25:07] Unidentified speaker (Panel Member): Oh, thank you. I appreciate that. [25:13] Artist (Presenter): And again, this, piece is strictly a like postural study. [25:22] Unidentified speaker (Panel Member): So, yeah, I mean, actually the one question I do have is that the, technology process you described is actually pretty fascinating. Fascinating and I was curious if you thought or thinking about how maybe that could be part of what's shared with the public or yeah absolutely I mean I think what's also really great about [25:44] Artist (Presenter): it is it's a local company and the two owners of the company are brothers who are from Maine so that and what they're doing in terms of like taking this traditional craft the lost wax casting and really bringing it into so using some pretty [26:08] Unidentified speaker (Panel Member): incredible technologies is impressive yeah a slight visit I think would be in order for [26:15] Artist (Presenter): sure yes yeah they're great I mean they do they sort of like they took me around their entire facility so yeah is that Standish yes Danish yeah oh that's it [26:44] Chair/Presiding Officer: I think you've answered all of our questions thank you so much for taking the time and [26:53] Artist (Presenter): thank you guys so much for allowing me the opportunity I appreciate it and thanks for joining virtually as well. I don't, I don't typically love that way of working, but, you know, in terms of time. [32:44] Speaker D (unidentified): What year is it in? It's 435. I think we're in [32:51] Speaker K (unidentified): the mid-20th century. We're just here for a small part of this. Yeah, we're really sad. Yeah, I've heard so much about the CV. Well, I don't even think of it as a CV. Yeah, sure. Oh, I didn't forget. [33:33] Unidentified speaker (Panel Member): Let's start with the first page. Great. [33:42] Chair/Presiding Officer: I don't have these very many for us. [33:46] Speaker D (unidentified): Oh, we can't have these. [33:48] Speaker K (unidentified): We can either maybe... [33:50] Speaker D (unidentified): Do an extra. Yeah, we can do an extra. I actually, yeah, if I remember, it's just on the big camera, I just, should I just show the visual so that, oh, all right, sure, is it, then it [34:10] Speaker K (unidentified): could be a little preview here, [34:13] Unidentified speaker (Panel Member): yeah,, if you like, thank you, yeah, I got it, all right, Justin, I appreciate it. Everyone. Great. [34:52] Xiaohuang (City Staff): Okay, cool. Justin, are you seeing the shared images on your on your side? [35:02] Public Commenter: Yes, I am. Yep. You're seeing a slide presentation. Yep. Perfect. [35:09] Unidentified speaker (Panel Member): Yeah, it's not showing up. I have to try to get Yeah. I can see it. All right. [35:52] Speaker K (unidentified): Great. Yeah. Yeah. Maybe to move this word. Oh. Oh. [36:09] Unidentified speaker (Panel Member): Yeah. That's good. I have everything on my screen. Okay. Yeah. Okay. [36:17] Xiaohuang (City Staff): Sharon, would you like to do an intro? Because. Yes. Yes. [36:21] Chair/Presiding Officer: Is our next applicant and congratulations and maybe it's in the finalists. It was quite a daunting task, I know he had a lot of great competition. Can we introduce ourselves? Yes, of course. Okay, I'm Sharon Benneby, I'm chair of the selection committee and vice chair of the Portland Public Art Committee. I'm [36:52] Unidentified speaker (Panel Member): Nate Frazee. I'm project manager from Parks, Recreation, and [36:57] Chair/Presiding Officer: Facilities for the Portland Park Construction Project. And then online we have Justin. [37:05] Unidentified speaker (Panel Member): I'm Justin. I'm an artist here in Portland. [37:09] Chair/Presiding Officer: And also on the Portland Public Art Committee. And these wonderful people are not part of the committee, but they are the backbone of our committee and help make things possible. [37:42] Speaker K (unidentified): I just wanted to start by saying thank you to everyone for selecting me as the finalist for the upcoming Portland Harbor Common Park. I'm very honored to be a participant in the running and have enjoyed my reflections on a place that was home to me for a decade, and still feels like home to me after a decade of having lived outside of it. For anyone who doesn't know me, my name is Isabel Catherine Maricato, but as an artist, I use the maiden name of Kelly. I work out of my home studio in Wyndham. I've recently been the position of chair of the Mays Homeworkers Guild, which is an organization I've been with since 2012 and working with Grant since birth time. I'm also a Maine College of Art and Design graduate from 2013. And since then, I've been fortunate enough to have a few of my sculptures placed publicly throughout Maine in New Hampshire. The sculpture I'm proposing is my original design of the Portland Story Quilt. The Portland Storytel is a design celebrating Portland's community, rippling waterfront and urban biodiversity. I've carefully chosen 8 symbols for 11 quilt blocks of the finished quilt pattern. This project is a 16-piece granite sculpture made primarily of stone, quarried in vain. The final form will be 7 foot 8 inches high by 5 foot 8 inches long by 2 foot wide. The sculpture will be set into a 6 foot 8 inch long by 2 foot 8 inch wide by 2 foot by base stone. My vision is for the granite base to be mostly obscured underground, just leaving a small thin for the sculpture to stand above the brickwork of the park, in hopes that more visitors to the park will have a good view through the windows of the sculpture. The sculpture is visually divided by a black granite framework, which you can see in this profile drawing here. And as seen in these panels for sides of the sculpture, there is an ornate side and a natural side. My interest is for the viewer to look upon the natural side with the bay behind it, and the ornate side with the street and city view behind it. These pictures are an evolution of my current public works from 2017 to 2025. In order from left to right, pieces are in the Boothbay Region Sculpture Trail, Andre's Institute of Art in Brookline, New Hampshire, Granite City Park in Hallowell, and at the Ellsworth Public Library. In my sculptures, I pair and assemble contrasting varieties of stone. It's become the regular method serving my studio practice, along with direct carving, and like the fundamentality of building blocks, each portion of stone receives information and is dependent on the previous component. From this playfulness emerges the culmination of a fragmented connection, much like a quilt pattern. As I said, I've carefully selected inspiration for this project from Portland's natural and man-made cultures to reflect on the Portland Storage Boat's relationship to the park site. So on the easels you'll see in place two top corner blocks of the project with beaming, hairy, seagull eyes. Between them is a relief carving of ginkgo below the leaves, and in the center of the quilt a seascape of alternating ocean waves and fishing net relief carvings, and just below that is a depiction of a red sunrise eyes on the water, and below that a horizontal block with another relief carving of Rosa Rigosa flowers, pews, and buds. Although these symbols may seem obvious to some, they are personal memories of the waterfront for the neighborhood's pinparks. I think of this eagle as a great symbol of resilience, freedom, travel, and connection to the forest. The waterfront industry of commerce is represented by fishing nets. Rosa rugosa is commonly found on the eastern promenade, and a significant number of pinto trees are found around Portland and predominantly on 4th street, and that's another liability for getting requests around Portland. Further selected inspiration was drawn from well-known histories of Portland, such as Bug Light Lighthouse, which is represented as open windows in the full sculpture above the alternating waves and fishing net carvings, the Woodman Building on Middle Street and a reinterpretation of the diamond-shaped keystones above the building's windows, which are portrayed on the quilts in sides and vertical blocks, and Victoria Mansion for the character of the triangular cutouts and the gas bricks that the mansion is edged with, which are the texture around the windows here. Additionally, I placed two corner-molding bullseye blocks on the bottom corners of the quilt. For me, it was a relatable symbol of the people living and re-living in the homes and buildings of Portland, as it is a piece of ornamentation often seen around living spaces. My selected granites, primarily from main quarries, are Oak Mountain, a swan will, just the top left on the screen here. Used for the vertical keystones in here, they're a reference to the women's building. It's mainly a cold gray with large white quartz flecks in it. Cambrian black from Quebec, Canada, just top center on the screen. Used for the base, framework, and corner blocks. It's a rich, dark, black, sharp gray screen. This is Cadenetic of York, which is top right. Used for the two horizontal relief carvings of paint billies and rose regosa plants. The fleshy pink granite often with ironed quartz lines in it. Really great for detail carving. This is North J White of J, bottom left. Kind of a cookies and cream green. Used for the models on display. Used for the windows and Victoria Mansion textual reference. Jonesboro Red of Jonesboro, bottom center. center, used for the sunrise. A very hard, large grade granite, which polishes the earthly grid. And Mystic Mountain of Belfast, bottom right, used for the ocean waves and fishing naturally. It's actually a nice, not granite, very hard. That's a lot of swirling silver grade blues and green with red and purple target crystals in it. Including the base and framework. This will be a 16 piece composition. Each stone block will be sawn on all sides by stone suppliers, expedite fabrication, and assembly of the project. After landing at my studio, the stones will be dry-fitted together, barbed, and dry-fitted together again, then pinned and epoxied, and then the sculpture will be moved on-site as a whole, pinned and epoxied into the base stone as of the foundation. I feel granite is a respectable material for public art, permanent public artwork, as it's so easily maintained and weatherproof. The sculpture would be coated in 5-O-liven compregnator sealer, which is oil and stain resistant on the surface. Moving around the sculpture, you can see that it has a thermal granite side on all of these. It's the process of heating the surface of the granite to give you a natural finish. Moving through a black frame, which is balanced on, it moves through the frame to an ornate side, heavy with Portland's unique symbolism. The ornate side will be covered in different textured surfaces, from heavily polished to natural granite surfaces, adding a variety of colors to the granite. In answering the committee's question of how these stones will articulate scenes to the likes of a quilt, I have designed the sculpture to have a delicate bevel on all blocks of the sculpture, which you can see here. The bevel will articulate the distinction between the blocks and the reliefs. Related to a quilt, they can stitch often unseen between two patterns of cloth pulled over a seam line. This will physically keep the block edges from chipping as they are moved into place, like they would if they were all sharp, right angled. The blocks before sculpting with its final form would weigh about 16 tons without the base. I believe it will weigh nearly 9 tons by the time it's finished. My plan is to pin the sculpture vertically to three places, each pin reaching one foot into the base. Additional pins will be in place to retain any attempt at movement on the top blocks frame. Every connection of interior surfaces and pins will be epoxied with weather-resistant epoxy as well as filled with stainless steel. So this rendering is to scale with the site visualized by Acevedo Technics, but the base is completely in view of UpGraft. The Portland story quilt is laden with symbolism. I wanted to create a sculpture representative of the life forces of Portland's waterfront. I think whether you're a person living or visiting the city, you will clearly be that in the sunrise, water and fishing net relief carvings, and open windows which give you a view from the city, one side and the bay on the other side. Duality is often another component of my artwork. This sculpture tells the story of how we've come from the place of the people of the dawn to the place that we're in now. Balancing these symbols on a quilt or on a frame scales the story down to the delicate balance city has to look after between nature, history, culture, and society. Sculpting the overall form to move as if windswept is a representation of time. The windows of the sculpture add a multi-perspective, openness, hopefulness, and literal and metaphorical light to the story. By creating a comfortable common ground for community reflection inherent in both faiths, my intent is to tell the story through graded blocks composed into the sculpted pattern of the world of historical art. [48:46] Speaker L (unidentified): I'd love for you [48:47] Speaker K (unidentified): all to come up here and talk to you here thank you thank you and [48:55] Chair/Presiding Officer: do we have any public comments [48:59] Xiaohuang (City Staff): do we have any problems yeah we can take public comments decide for anyone in the room [49:06] Public Commenter: right so john you would be considered public comment tonight so if you want to okay so i can ask a question you can ask questions and then artists would respond kind of [49:17] Unidentified speaker (Panel Member): after public comments close, similar to the place where there's a lot of interpretation and symbolism in this piece. How do you, what would be the evil? To understand it and to know this. [49:40] Public Commenter: And we'll have the artist respond. I'll see you in three minutes to ask us questions. questions. [49:49] Unidentified speaker (Panel Member): Yeah, you've got the right. Yeah. [49:54] Chair/Presiding Officer: Have questions from the committee? [49:59] Xiaohuang (City Staff): Is anyone else in the room? Like to provide a comment? We [Unidentified speaker (Panel Member): would do this] selection panel? Question and answer discussion? [50:24] Unidentified speaker (Panel Member): Yeah, one question I have is understanding. So this is a your artistic interpretation of what will then be perved into the relief of the granite. So obviously the artistic interpretation is a little more high contrast. It varies a bit. And yeah and so it will more look like that all of the contrast will really come from relief into the stone itself right and the individual colors that you've selected and paired with the motifs of the boat, like a fabric pattern is that correct? Yep. And there won't be any additional coloration, you know, except for the natural colors of the stone and your nice straight carving. [51:09] Speaker L (unidentified): Yep. Yeah, we're clear on that. [51:17] Chair/Presiding Officer: One sort of, it's a general question about granite. You did say that it would be sealed. How often, typically, does granite need to be sealed? [51:28] Speaker K (unidentified): I mean, the 5-11-inch regulator, I think it could take one or two years or something like that. I [51:38] Unidentified speaker (Panel Member): just didn't know. Oh, yeah, I know. That's a category I've been trying to figure out. [51:44] Chair/Presiding Officer: I mean, all the hours. Yeah, [51:48] Speaker K (unidentified): well, I think it makes it easier to take spray paint out. Also, all of the grain will be peeled on the ornate side because there's a lot of polishing there. But that surface makes it easier. It's really the natural side of it that's the best. [52:08] Unidentified speaker (Panel Member): Yeah, I appreciate your presentation. And I think your description in these examples really helped convey it a little bit better than the renderings. because and a lot of it is just purely printing right everything shows up dark when it's black so but it does make me wonder i see you see the detail of the eyes and the bullseye from the side i'm just wondering once it's in a black stone will we still when it's out in the sunlight will it will it just look black or a little that the detail of those I feel like in this render, those are really dark, but they frame the whole piece and they're pretty critical to it. I just wonder if that would be visually present on the landscape. [52:58] Speaker K (unidentified): I think if you're looking at the profile of it in person, you're going to still see those same shapes, but having these circles polished and raised above the surface, hit by light, [53:11] Public Commenter: is going to draw your eye to it. [53:13] Speaker K (unidentified): same with any texture here. I do think that you know you're only going to see this diamond edge from the side so you're not going to hopefully it'll draw you around this curve to go look at the rest of the center. [53:31] Chair/Presiding Officer: And Justin did you have any questions Justin? Sorry just making my way [53:40] Unidentified speaker (Panel Member): over to the mute button. I guess I'd like to hear just maybe a little bit more And maybe, and it was a little hard to hear some of it, but just in terms of how you're approaching the narrative here in terms of, you know, public monument and sculpture and quilting and just sort of hearing a little bit more around that sort of tension or the story. I [54:06] Speaker K (unidentified): Don't have any quilting experience. I know it's prevalent to me, but for me it was more of a metaphor. I was given a bunch of, you know, linear pieces from a landscaping friend of mine and started playing with them and thinking about how awesome it would be to lay these out in a quilt form, you know, maybe some stars. And then, you know, this opportunity came up and the idea expanded. Yeah, but I'm still thinking that as a quilt, just drawing all of the images together and telling a story like a quilt would. [54:42] Chair/Presiding Officer: Thank you. Thank you so much, Isabel. [54:49] Unidentified speaker (Panel Member): Did she get the answer? Yes. Is there a question? Could you repeat it? How do people know that this is a quilt and that you have all this symbolism going on here? Here. Is there any key that interprets people question? [55:08] Speaker K (unidentified): I think I mean, having a title the Portland story quilt nearby is probably going to be the easiest way to create that this is a story format of a quilt. But to think of it as fabric, probably not like that. That is your question. [55:29] Unidentified speaker (Panel Member): But we typically have someone with a bronze plaque that explains the art piece. I'm wondering if we'll end up with something really extensive in this case. It's been communicated clearly what the work, what our plaque requirements are with the artists. So they, 're aware of what the extent of the plaques are and that would be, how included. Included, and it's also, it's discussed in various other things, if additional signage was needed or felt like it was an essential part of the project that's for artists to make that clear. And so they're aware of that. Can you say what would explain that in a bit? The classic Portland public art plaque is included, like it would be in all of our sculptures. So that is what is included within it, within our guidelines, and then additional is at the discretion of the artist in terms of including it in theirs. And so it seems like it's thought, you know, feels that the piece speaks for itself with [56:35] Chair/Presiding Officer: that font. And there is additional information on the website for people. [56:44] Speaker K (unidentified): Yeah, thank you all for having me. Have a great time [56:49] Chair/Presiding Officer: I should go do something [56:51] Speaker D (unidentified): I put them away no worries I would love to stay with Celeste [57:01] Speaker K (unidentified): I don't know if that would be able to that would be great [57:08] Chair/Presiding Officer: I would love to [57:17] Unidentified speaker (Panel Member): Once you're you know once you have more space right it'd be so much more [57:21] Speaker K (unidentified): Yeah i mean like the [57:23] Unidentified speaker (Panel Member): An amazing amount of detail so it's exciting to think about Thank you so much. You look I'm sure it's a little bit on that Well, that's where would you like it on top of the table? Oh so that way [1:01:23] Speaker L (unidentified): The bottom when they're sitting in the back and go at the bottom is important. The bottom is important and actually this has to do a better idea of action I saw I'm thinking if I might close that a little bit because that lights coming right to my eye [1:01:50] Unidentified speaker (Panel Member): You are really happy is that yes okay the video is coming from here so just understand hi Justin [1:02:04] Speaker D (unidentified): Thanks list exactly okay [1:02:24] Chair/Presiding Officer: Well we are in this election committees and we have the chair identity and chair of the selection committee vice chair of the Portland Public Art Committee [1:02:40] Unidentified speaker (Panel Member): And Nathan Frazee, product manager from Parks, Recreation, and Facilities, one of the important harbor construction projects. [1:02:48] Chair/Presiding Officer: And online we have Justin. [1:02:51] Unidentified speaker (Panel Member): Justin, part of the committee. I'm [1:02:56] Xiaohuang (City Staff): the city staff over here. I'm Sean Kaye. [1:02:59] Artist (Presenter): And I'm Matthew Grusin, the deputy director of planning. [1:03:02] Public Commenter: I'm Kevin Frost, director of planning. Thank [1:03:08] Chair/Presiding Officer: you for coming, Celeste. Come on ahead and talk. My pleasure. Thank you for inviting me. [1:03:14] Speaker L (unidentified): I thought to make a little personal statement first that's like not in my presentation. And because it's important to me that you know why I'm interested in this project. And so I wrote this up yesterday. I can hardly believe that I am standing here before this public art committee for after more than 55 years since I moved to Portland in 1969, summer of 1969. 1969, I rented a room in a rooming house on Park Street, and that's a solution to the housing problem. You have to go back to rooming houses. So that I could take an early morning calculus course at USM, which used to be called UMPG, University of Maine at Portland, Florida. During that same summer, I worked second shift at the Fairchild Semiconductor in South Portland and welding transistors and luckily there was a city bus service that took me to there and back and that bus service ran past midnight so I could work the entire shift. Gentrification of the waterfront began in the 1970s and I was living in Portland at that time on Lunger Hill, Cumberland Avenue, Grant Street, Park Street, Pine Street and Lincoln Street wherever I could find the cheapest French. My first sculpture studio was at 228 Brackett Street in the painter Bob Solitaire's backyard. I was a young adult working for Pine Tree Legal after attending the Portland School of Art and Skowhegan School. Artists need to make money, and young artists can't make money with their art. So I became a paralegal, which offered me flexibility. At that time, the idea of the working waterfront and keeping it working was important to Civic Portland. There was even a referendum that passed preventing development that was not related to the working part of the waterfront, which was under threat by condo development along Commercial Street on both sides. I voted in that reference. [1:05:18] Chair/Presiding Officer: So did he. The working waterfront continues to be under [1:05:24] Speaker L (unidentified): pressure today. Luckily, there are counterforces at work, like the purchase of a custom house by GMRI a couple of years ago, and the existence of non-profit entities like the Gulf of Maine Research Institute on the waterfront. Access to the waterfront by the general public is also limited by commercial development, which is why it is critical that City decided to set aside this waterfront land as a common. It will be wonderful to see a packed with people relaxing, eating, playing, exercising as they do at Boston Common, which is a really fine example of a beautiful inner city park accessible to all. The City of Portland has consistently made a big effort to provide access to its citizens all over the peninsula and beyond. The Eastern Easton Crong, Weston Crong, Baxter Boulevard, [1:06:10] Chair/Presiding Officer: Gearing Oaks, the Greenbelt, [1:06:12] Speaker L (unidentified): and now Portland Harbor Common. These amenities are not quantifiable. They are precious, and they are what makes living and working in a city a rewarding experience. Great cities support the arts. Great cities invest in public sculpture. Portland is a great city. [1:06:30] Unidentified speaker (Panel Member): Thank you, Portland, for sponsoring [1:06:32] Speaker L (unidentified): this public art commission. [1:06:34] Speaker D (unidentified): And I mean that. [1:06:38] Speaker L (unidentified): I have not applied for a public art project in 20 years. Just, you know, the location, the place, it just wasn't of interest to me. But this project is of interest to me. So, first slide. The title of this project is called Seabead Zips. And I'll explain the zips in a little while. Next slide. This is a view of Portland Harbor Common seen from South Portland from the public landing in South Portland that is adjacent to Bud Light Park. This is also the same view that people will get as they're going back and forth to the islands on ferries, and as the big tour ships come in, cruise ships come in, and it's going to be great to see some greening here. There is no green on the on Conversion Street. There's no green on the waterfront. Green kind of ends, I don't know, down by the other bridge, by the Veterans Bridge. So from Southport then it's going to be wonderful to see green on the spot and maybe even to see some sculptures. They're big enough. Next slide. I love this site. I think the access coming straight down from India Street, taking you straight into the sort of rotunda of the site and then proceeding on to the ocean or to the harbor is actually perfect because everybody wants to be on harbor they don't want to be a far away their destiny and their goal is to get as close to the water as possible at least it's always my goal so I love this site also the way it intersects you know this way and then it transects that way on a diagonal. From all points of view, you'll be able to see the sculpture that's placed in that very important location. As an artist, the ocean has always been very, close to my consciousness, beginning in high school when I was a circle girl at Inhofe Orchard Beach while I was in high school. And since then, I've made many sculptures that refer to the evolution in particular the sort of iconic rising cairn that's at the Museum of Art that they commissioned 26 years ago in 2000 and next slide but I don't work and with stone anymore I gave stone and steel up about 15 years ago. I work primarily with seaweed and wax for a number of reasons. It's lighter. It's more sustainable. It's readily available. It's cheaper. I can collect it by walking on the beach and getting beach pass. And I find it extremely aesthetic and elegant and fascinating in all of its bio-warms. I'm a member of the Maine Seaweed Council. I have been for the past 10 years at least, which is where I picked up a lot of information about seaweed because the council was made up of policy makers, biologists, scientists, entrepreneurs, processors, harvesters, and aquaculture. So what I call a zip is made up of a piece of seaweed. So inside of this sculpture, before it was cast, there is a lot of the pieces of seaweed. And on top of that seaweed, I brush layer upon layer of wax, salting wax, victory brown salting wax. You know, 20, 30, 40 layers. And then the whole fast at the bottom, I make also using just wax, not seaweed. So it's completely is completely made up. Here's a little holdfast that I brought in to show you that I dipped in wax. And this little holdfast is probably closer to what the size of a holdfast is attached to, say, a six-foot long length of seed. But it doesn't have much presence. And it doesn't functioned very well in terms of supporting the artwork that is about it. So this is kind of would be a very unusual choice, I think, for the committee to decide to have a sculpture that references seaweed, but it is very related to the mindset right now in environmental studies and in agriculture and in harvesting. There's a lot of scientific research going on in Maine, at Bigelow, at Jarlene, at all the University of Texas, at the University of New England, in what can we do with seaweed. There's a lot of theories out there. It can help with ocean acidification, it can help with cleaning up the ocean, it can be a form of bioplastic, and there are people in Europe who are actually doing works where they're making plastics out of seed. So it's not really plastic, they're calling it bioplastic. So that's one of the reasons why I find the cd so fascinating, it's that it's a subject of research right now in this time, and it's kind of pervasive. It's happening all over the world, and I think we're a little slow to catch up with that research. It's been going on here much longer and in Asia, of course. Seaweed, this particular type of seaweed, and this one, is the common name for marine macroalgae. Seaweed is part of the blue economy and is an important means of diversification for many fishermen. A lot of lobstermen are doing seaweed in the winter months because lobstering ends around November, seeding happens in November, harvesting of seaweed happens in April and early May, and then back to the lobster. So it's a nice combination. Seaweed aquaculture in Maine is relatively new, and here in Casco Bay it had at least two companies growing sap green and latissima, which is this type of seaweed, which is also called sugar kelp, and it's the seaweed that I am most interesting in working with. This slide shows you the seaweed saccharina latissima that I collected down east drying in my barn. What I will need in order to do this project is I'll need 15 foot lengths of saccharina latissima, which will, as it dries, shrink up to about eight feet. And then once I add that hold fast, I've got another four inches. We've got eight feet, four inches. And then I'll talk a little bit more about how it will be installed. So, let's see, next slide. There was a very important exhibition that happened at the New Bedford Whaling Museum, and I was in that exhibition along with five other artists for me. And in that exhibition, it was quite remarkable. They went all the way back to 1770 and showed all of the different kinds of things that different industries in the crafts and in building construction and in the arts, what they were doing with CVs. So this is the catalog of the exhibition, an image of the catalog of the exhibition. So what are CVs? Like I said, I've been working with CV for about 15 years and the zips came to me about a year ago. Prior to that I was working with, figurative work with CV drawings, collage, photography, printmaking. So what I became interested in is this line, this line that just curves in space, very elegant, and I wanted to see, well, how do we make this with seaweed? Can I actually build something [1:15:22] Unidentified speaker (Panel Member): that will be staying really, vertical [1:15:25] Speaker L (unidentified): and stand on its own? And I made about nine of these in one year, beginning about almost a year ago. All of them have been cast by Somerset Foundry in that, and they're all done pretty much the same way. [1:15:45] Chair/Presiding Officer: Right now, I have seaweed. [1:15:46] Speaker L (unidentified): I went down east, I went to Addison and I worked with a harvester and he went out early one morning and he cut some 15-foot lines and he saved them for me, picked them up. And they're really amazing, phenomenal things to look at. So I'm going to begin this project no matter what happens. next slide so you have the detail of the whole bath here and then you also have them over here this one is attached to a piece of granite and with a bolt that runs right through a hole that's drilled through the granite and then it's drilled through this bronze plate at the bottom and then that's bolted as well and then this one is just going into a hole in the granite in the basalt. Next slide. This is how I'm going to be attaching the zips to the big boulders. So here's the layout. So here's, I'm standing in India Street, and I'm walking into the space, and I'm walking, I'm meandering through the space, and then walking on to the harbor. What I would like to do is three large boulders, 36 to 48 inches, no more than 30 inches high, the two large boulders we have two zips in each boulder, and then a small boulder 24 to 36 inches wide and about 20 inches high, and that would have one zip in the boulder. It's very important to me that everything be on the same level, that there not be any obstructions and no plantings to get in the way. I want people to be able to walk up, touch the rock, touch the bronze, sit on the rock if they want to, take photos. In one point of your original illustrations, there were lots of bushes around the sculpture, and to me that's really kind of putting me off as a viewer. I want to be in the space. I want to be walking through the sculptures, kind of like you're swimming under the water. You have all of these seaweeds rising up. So, let's see. The boulders. Excuse me, over to you, next slide. So you can see that the there won't be any obstructions people can come at it from all entrances right and they can cut through it they can bicycle through it wheelchair through it you know dance through it whatever so there's a lot of space left in that 20 foot diameter circle. [Chair/Presiding Officer: Next slide.] This cross section, I'm showing you the height. So you can see the ground plane right here, the height of the boulder 18 to 30 inches, which is the height of the bronze, about eight feet. And then the overall height about eight feet to 10 feet. I would like to have variation. I don't want them to all look the same. There'll be differences in width mainly and a consistent height. Next slide. And here's the attaching method. So here's the footer that will be placed underneath the area that I designate as the place for the boulder. And that will be attached to the footer with stainless steel threaded rods. How many, how big will be determined by a structural engineer. And I haven't done that consultation yet. Then the zip will be attached both by a threaded rod of unknown number, and also underneath this will be solid at the center. You won't see all the way through, so the tentacles coming out at the end you'll be able to see, but in the center it will be solid, and there'll be a threaded rod going right up into that space. And also that whole area will sink into the granite. There'll be an area cut hard out of the granite. It will sink into the granite. It'll be recessed. And this will sit on the surface of the granite. And that'll also be epoxy. Very, epoxy. Okay. One question was about how fragile is it? It's not at all fragile. I mean it is thin, but you really can't bend this stuff. This isn't like aluminum. This is cast bronze. Past materials are stronger than other rolled materials, but also the zips that I'll be making will be thicker, wider, taller, in general, all over, bigger, maybe a half inch thicker. I don't have to go that, I've talked with the founder and he's like pretty confident that I don't have to go that much there, but they'll definitely be wider. I'm going to be sourcing the granite in down east, it's too thin, there are glacial poplars that come out of sand pits and Jesse Salisbury will be cutting those. And then the fabrication of the casting of the zips will be done at Somerset Foundry in West Bath. And this is sort of shows you the sequence of how that happens from wax to patina. Next slide. No lighting. Is it longevity? Longevity, granted, is forever. I mean, we know that, right? Millennia. And pretty indestructible, except for graffiti. And I'm sure the city deals with that all the time. And you deal with the graffiti on this the same way you deal with graffiti on anything else. Bronze is also for millennia. I mean, you're looking at a sculpture there that was made in Greece 2,500 years ago. [1:23:02] Speaker D (unidentified): It just doesn't go away. [1:23:06] Speaker L (unidentified): Even if you soak it in the ocean for hundreds of years, thousands of years, you can still extract it and recover it. Next slide. So like I said, maintenance doesn't matter. It's self-maintaining. Jesse Salisbury of Fieldstone is going to be doing all the installation. He's very familiar with the city of Portland. He's done full of art sculptures here before. The budget, next slide. I don't think I need to go into the budget. I submitted [1:23:39] Chair/Presiding Officer: I've given it a very detailed budget. [1:23:41] Speaker L (unidentified): So the only thing I would like to address is the fact that it totals $178,000 instead of $150,000. And I think that can be dealt with because I've set aside [Chair/Presiding Officer: 10% as contingency.] And the actual casting of the bronzes may come in a little bit lower than the $45,000 was given to me by Sunset Foundry as what it would cost, $9,000 per culture. And then the budget, I don't have to go into my credentials as far as that, but the very last thing in the appendix is budgeted by Jesse Salisbury of Fieldstone and that's all the costs associated with him trucking everything down from Stevens and installing it with a crew. So that's about $20,000. [1:24:34] Speaker D (unidentified): Okay, I'm done. [1:24:55] Unidentified speaker (Panel Member): I think you're right. The line is amazing, and it changes as you go around. It's really great looking. I wonder two things. Have you tried to bend it? Have you bent it back for world's concerns about maintenance I don't want that section wait I mean somebody probably will [1:25:18] Speaker L (unidentified): Right then, yes, but you know I've been looking at sculptures that are in the city and John Ford still has a pipe in his hand what and that's very it's a lot smaller than this and a lot more delicate and his thumb and his forefinger are still sticking up there anybody could do that. The lobster still has its links on the lobster sculpture. I think when people like something, they respect it, and they don't. My sculpture at Portland Museum of Art has been out there for 26 years. [1:25:57] Unidentified speaker (Panel Member): No handles. 26 years. [1:26:01] Speaker L (unidentified): You'd say it's been back? It's in the side yard on Pine Street, on [1:26:08] Unidentified speaker (Panel Member): My other question was, have you thought about lighting at night? [1:26:12] Speaker L (unidentified): I didn't want to go into the lighting. I didn't trace out the lighting. I'd have to consult with the lighting engineer. And you both told us that there was going to be lighting coming from the lamps at both ends. That would be going 24 hours a day. I would discuss it with the lighting engineer. If there's recessed lighting in the ground, whether it would affect the sculpture in any way, or whether the boulder would get in the way of that lighting, those light rays. I don't know. I'd have to look into it. And I would look into it. [1:26:56] Chair/Presiding Officer: Okay, can we take questions from the panel now? Yes. [1:27:03] Xiaohuang (City Staff): Any questions from the panel? [1:27:05] Unidentified speaker (Panel Member): I think you spoke to this a little bit presentation but I'd love to understand it a little bit more you know in one of the visuals you saw really people interacting sitting on the stones and that would be your intent right for this to feel at the level of human experience as you pass through and spend time there and be on the on the stones like seating and that feels that's all within your intent, right? Yes. And if you [1:27:39] Speaker L (unidentified): Ever go to Florence, you know, like the, like the baptistery doors, for example, people are always touching the baptistery doors. They have a beautiful patina from people touching, you know. So the sculpture is getting a little darker at one end and probably brighter wherever it is that people are touching it. Also, patina is going to, it's going to age and like if you look at any of the sculptures that are bronze in Portland, you're going to see they're all dark, right, and it's very possible that this will not, this will darken but it will also may turn green because it's so close to water [1:28:17] Chair/Presiding Officer: The rest of our bronze sculptures we do seal and wax every five years so that is one thing that's making it darker. From what you said, you don't want it sealed? No, it is sealed and waxed. Okay, so you do what it's sealed and waxed. This is sealed and waxed. And that lasts about five to seven years. [1:28:40] Speaker L (unidentified): There's another alternative that's called interlock. You spray the whole thing with, it's like a lacquer, and that lasts about 10 years. But stripping it off is not as easy. With wax, you can simply put more wax on where you would keep, we'll just take it off. But with ink black, you have to strip it. [1:29:08] Unidentified speaker (Panel Member): I like the approach of people engaging and touching. It does thinking about kids on the stones and that kids are not always as responsible as adults. So the likelihood of kids trying to pull or hang on it or just want to continue the conversation about how durable and how much actual pressure it can withstand? [1:29:33] Speaker D (unidentified): I can't tell you a lot. [1:29:35] Speaker L (unidentified): All I can say is a lot. You have to have something you can't bend it. Somebody's going to have to get it dragged in there, but probably you should attach it to their pickup truck and pull it over. But a kid standing next to it and the economic it isn't going to budge, you know, I mean, this is wiggling now because, yeah, right, it's not attached to anything [1:30:01] Unidentified speaker (Panel Member): It is going to be thicker, sure, yeah, and I have one other question, I was just curious, I think you said Addison is where you were sourcing, yes, I'm just curious is the reason why they're, and not all of them, I guess. [1:30:17] Speaker L (unidentified): These are sourced from a kelp forest and kelp forests off of Southern Maine are dying from ocean acidification, ocean warming, pollution, too much nitrogen in the water, runoff. And so, and they just don't grow as big. The colder the water, the bigger the seaweed. So I met this at the Seaweed Festival that was at GMRI in April. I met a harvester and I explained my problem to him, and he said, oh, I can get that for you. And so they go out and there he said, our seaweeds of course are in perfect condition and [1:31:00] Unidentified speaker (Panel Member): i'd love to see that story in this piece yeah so when you talk about multiple pieces of special height difference Like that would be a compelling component to maybe have one significantly shorter that Wright is a locally sourced one and can kind of talk about impacts that happen on the environment. [1:31:21] Speaker L (unidentified): I think the whole human story is a very interesting story and it hasn't been told and people aren't that aware of it. All the research that's going on in Maine right now, it's a piece of what Bigelow is doing right now. They keep getting multi-million dollars, NSF grants, year after year after year, to do the research that's really good, like methane, at Old Mac. [1:31:47] Xiaohuang (City Staff): Justin, do you have any questions or comments? [1:31:53] Unidentified speaker (Panel Member): Hey, Celeste. You know, what is so compelling about these is the unique form. You know, I don't think I've encountered a sculpture in this sort of format before publicly. And so I think again it sort of raises just a lot of with that sort of novelty there's a lot of questions I think about like how it exists in that space. So sort of so again to continue this, you know, how sharp are they I guess in terms of you know like not all okay and there's no there's no sort of you don't think there's any risk of I should if they want to collaboration or anything like that from even like philosophy okay no the edges are very [1:32:36] Speaker L (unidentified): smooth and very rounded and I would pay even more attention to that if I knew it was going into a public collection rather than a private collection. Yeah it is a very unusual form and I think what people think about public art they don't think about this route you know tall linear skinny feminine things so I think that's the challenge you know it's certainly [1:33:07] Unidentified speaker (Panel Member): attracted to it though you know that's it's definitely what makes it kind of special I think so yeah and I mean what I mean have you ever imagined someone would try to climb it [1:33:20] Speaker L (unidentified): They could but they also could climb John Ford. Yeah they can climb anything they can you know I mean I'm sure the public art sculpture in Portland is constantly being threatened by trucks and people deciding oh I don't like that bollard I think I'll move that bollard [Unidentified speaker (Panel Member): You know what] happens thank you it's an experiment it's an experiment an expensive [1:33:52] Speaker D (unidentified): experiment okay thank you so much yeah thank [1:34:03] Speaker L (unidentified): you very much thank you And it's really thick. [1:34:13] Xiaohuang (City Staff): You can touch it. We did a show break and a game for the panel. [Unidentified speaker (Panel Member): Ready for liberation.] So let's do, let's reconvene. [1:34:28] Unidentified speaker (Panel Member): It's thicker. It is. And we can use the restroom. [1:34:35] Speaker D (unidentified): These tentacles are thicker than the restrooms. [1:35:32] Speaker L (unidentified): yes okay i'll be outside locked out and this will be inside yeah let's avoid that [1:35:39] Xiaohuang (City Staff): are you gonna see her carry it into the elevator yeah okay [1:35:51] Speaker D (unidentified): watch out for the doorway yeah watch [1:35:58] Unidentified speaker (Panel Member): you're all set with it you got it you're all good everybody's good yeah, they bring martinis in for deliberations. [1:36:10] Public Commenter: I was going to go home. They're probably drinking. Yeah, I was going to go home. [1:36:14] Speaker D (unidentified): Yeah,, yeah. Martinis. They're what? [1:36:23] Speaker K (unidentified): And what's your cart? You are. Is it? I'll be right back. I don't know. Who cares? For [1:37:26] Chair/Presiding Officer: your patients that are waiting, you don't have to think about how many of y'all have [1:37:30] Speaker K (unidentified): stuff. Oh yeah, no problem. [1:38:17] Unidentified speaker (Panel Member): And then to come back here at a 40 degree weather and come for something. Yeah. I'm going to think back on the late last time. [1:38:27] Speaker D (unidentified): The trip was fun. I [1:38:37] Unidentified speaker (Panel Member): think it was the hurricane. [1:38:40] Speaker L (unidentified): This is such a good time. [1:38:44] Speaker D (unidentified): Yeah, it was really good. Yeah. It was really good. And, you know, swaddling down the hill. [1:38:52] Unidentified speaker (Panel Member): And for the actual flight. [1:38:57] Speaker D (unidentified): I mean, so, you know. Yeah. It was really fun. [1:41:42] Chair/Presiding Officer: Now, is that discussion live? Everything's live. [1:41:47] Public Commenter: And then the committee, if you have a decision, they'll vote. And then there'll be a written recommendation which we can help write and share it with you all. And make a shared document out of this to the full committee in June. And they'll vote to accept or not accept your recommendation. [1:42:08] Chair/Presiding Officer: What should our document just say? We recommend this because... [1:42:12] Public Commenter: We would also recommend that we would also reference the criteria for the selection of the market. And that's why we would also share that document with the subcommittee so you all can feel comfortable with what that document says. And ultimately, Sharon, you would be the one who signs it. And again, kind of a lot of the draft, we could share it with them. [1:42:34] Chair/Presiding Officer: Oh, good. Okay. That sounds wonderful. before should we start back at the top or do we want to start at the bottom [1:42:40] Speaker D (unidentified): why don't you start at the top okay oh [1:42:47] Chair/Presiding Officer: so we'll start with gabriel fries anybody have any questions or have any reflections or discussion it's important right [1:43:03] Unidentified speaker (Panel Member): The name of this space, the name, the name, you know, the park, yeah, you could park or something. The board, it hasn't gone to full council for vote, but the naming of the part went through a public naming process for naming applications, and in last week's meeting they presented that to you, yeah. And the naming that they're recommending is first like comments, and that's for the first-line people, and really kind of referencing, and so his piece I think matches that like very nicely, and so I think, I think the two of those components marry very well. I think the reference of lack of business recognition that we have currently, within my phone, we do have an interpretive sign, so the potential to engage this piece with that signage in a larger story, I think, is a very compelling outcome. Looking at it, then he's still working through the form and the exact angle. I think I actually lean towards his original piece a little bit more, add a little bit more of a balance component to it, which I thought would look really nice for multiple angles. And I just think the piece was really nice. [1:44:42] Chair/Presiding Officer: I do too. I like both, but I do like the first one because part of it is the fact that the spear and the fisherman is not striking, he's hesitant, and I think the first one conveys the hesitation [1:45:01] Unidentified speaker (Panel Member): yeah, the piece he had here had, it was almost like the next phase of it, right, the drawback is that, which I think is a little bit counter what is totally crazy, yeah, but again we could [1:45:14] Chair/Presiding Officer: that's a different base of the project and kind of funny. I do like the fact that it brings up the environment, and I love that if you don't pay the first fish you don't have to worry about the last, so it speaks to the environment, to sustainability, which is very important, and I like listening to him and how he's tying in the working waterfront, the Wabanaki history, and the people that are here now, and how that's all becoming one story. It's not like, oh, your story's over here, your story's here, but how he's kind of weaving together to make one story. [1:46:01] Unidentified speaker (Panel Member): I really enjoyed hearing about the collaborators he's currently working with. That felt really, important. I feel like he's a great team to bring vision to life. I agree with the story that we saw, and I think it was a work in progress. [Speaker D (unidentified): I felt that.] But I'm glad to see the start of the process and to get to understand, especially some of the really interesting techniques you're utilizing in creating it. I think, you know, where I have a few slightly lower marks on my scoring just came from experience. The two other artists have spent truly decades in the exact sort of craft that they're working in. And so it was definitely reassuring for me to hear that and to also have them speak about [1:47:03] Chair/Presiding Officer: how this integrates with this artistic practice as well, and it does really. Those are good points. And I did wonder about experience too, but then the fact that he's that company that he's using it has such a vast experience that I think that they're actually would be doing fast, so I felt like I felt reassured in that, like you brought up, I like the he's keeping it so close to Portland. [1:47:43] Unidentified speaker (Panel Member): I also like in his budget that he set aside money for interpretive science. So obviously that there's more to tell about this than the bronze plaque that just names it and references it. So he's thought about that, you know, the larger messaging and scoring of this. [1:48:05] Chair/Presiding Officer: Yeah, I liked his budget. I thought it was very thorough and, you know, being even more frugal for me. So the fact that he answered those questions set aside as an extra in the budget, really impressed me. [1:48:26] Unidentified speaker (Panel Member): Yeah, he had the healthiest engineering and coordination budget of all of them, I think. Maybe one of the most technical necessary ones. But then again, a healthy budget for the documentation and rendering, some of that is going to be necessary. And 2,500 set aside for signage is actually, I think a lot of people underestimate how much signage costs. That's a pretty good budget for that, so I appreciate that. [1:48:57] Chair/Presiding Officer: And just that no one has told that story, you know, we don't have anything that represents those portions of our community, and even if it's Queensborough, they're in the state of there. So I think it would be so important for us to have that kind of broader outreach and communication and people say oh well what is that and there's a couple things I had to go on the main state history to learn to answering myself because I didn't so it's been kind of fun doing [1:49:41] Xiaohuang (City Staff): some of that research hey I'm trying to choose a reminder the question panel meeting you are able to share your thoughts during this meeting, maybe in private comments. But in terms of the next meeting, it's really about looking at the selected adult to provide their [1:50:09] Unidentified speaker (Panel Member): origin. So what is the future? [1:50:12] Chair/Presiding Officer: future. You're actually part of a couple of communes with some committee that's deliberating. [1:50:20] Public Commenter: Though, underscores to this corner of our blog is up to see who they are going to recommend. [1:50:25] Unidentified speaker (Panel Member): Recognition is the full public opinion. And then there's this the whole committee make comments or committee would vote to accept or not. And then and vote as well or vote. [1:50:40] Public Commenter: That yep okay without on this is a way to kind of kind of guys I have a thought on that. [1:50:49] Unidentified speaker (Panel Member): This is part of the connection I cannot give it I'll look to the chair if you want to see. [1:50:54] Public Commenter: On it but after that I think they need to continue to let the committee do their own again your process as part of a larger committee member would be. [1:51:13] Unidentified speaker (Panel Member): I don't know if I can write it because that will be. [1:51:16] Public Commenter: Again next year next month and you're welcome to follow up after today you can send an email up but really we have to look at something that you do. [1:51:31] Chair/Presiding Officer: Justice happened when he did the. [1:51:37] Unidentified speaker (Panel Member): Ram Hall. Yes. We did take public comment. [1:51:46] Chair/Presiding Officer: And then we had an opportunity for public comment earlier. [1:51:52] Unidentified speaker (Panel Member): I think I should have. Justin. [1:51:56] Chair/Presiding Officer: Justin, do you have some thoughts? [1:51:59] Unidentified speaker (Panel Member): Yes, for all the reasons said, I think it would be a really great inclusion to the collection, for sure. I guess, you know, the thing that comes up for me, though, is that the, you know, with such a sort of new perspective, the form is really rooted in what we've come to expect from public art or sculptures or forms in this way. So those two things sort of sort of make me you know raise questions for me and sort of then put my gaze towards you know the other more sort of experimentally formed pieces so that's just what i'm considering right. [1:52:40] Chair/Presiding Officer: Now oh you mean like because it's figurative like a sculpture of a guy right you know we have lots. [1:52:49] Unidentified speaker (Panel Member): Of those in parks everywhere all across the city so you know given that it's such a specific topic and an under looked topic for sure you know like the form is still sort of rooted in this kind of more you know colonial modality really you know so I just think it's I'm not sure anyways it's just it's another sculpture of a guy in a park which the other ones I think just do a little bit more in terms was a pushing the form or pushing what a sculpture could be in public i. thought at the same point yeah i thought about that too i do think there yeah i 've i had similar feelings but i really appreciate that gabriel is engaging i think i think that is part of the point you know is that he's engaging in that narrative and creating a figure that disrupts it and hasn't been depicted in that way but i also do feel that at first glance from the public it does have a traditional more traditional feel to it and it's part of it's part of what he's doing i think it's intentional, but I very much see and do feel that in just thinking about visual diversity of works in our collection. Yeah, and it doesn't work against it. It's just something that is part of the equation, I think, that's all, yeah. I think I do like that the title, once he explains it, that it's fisher person, not fisherman, fisher woman. And I always thought about that kind of dynamic as well. And I think some of what I go back to is, you know, again, this is a group that has been marginalized, has not had the opportunity to have that figurative literal statue. And yes, it may not be pushing the kind of new interpretation of it, but they've also never had a chance to be within the traditional representation, so I think I [1:55:06] Chair/Presiding Officer: can see both kind of both sides of that point on that phone. And do you think, as, and this is totally subjective, as an entry point into understanding the story, the fact that it is something that people know, that they're comfortable with, this is a statue of a person, that gives a better entry point into coming to understand this story because it is something you're comfortable with. I mean, I can see both, I can see that, totally see what Justin's saying, but then I'm wondering, okay, is that maybe not such a bad thing [1:55:46] Unidentified speaker (Panel Member): because I see that sometimes the most growth is when we're most uncomfortable, right? So like some of that challenge can be positive in the long run. Yeah, it's a good thought to bring up, thank you. I had one, you know, I think I sort of, I did this across the board and in my scoring that, you know, I think the budget is extremely hard portion of this to get together. I think I like the breakdown of his budget, but I almost wish I had a little more detail on some of what was included in some of the applying items, a little more, you know, sort of two ends of the spectrum when we look at, you know, some of the other artists, so I sort of have a really challenging part I know as an artist, especially there are so many unknowns, but I guess I was sort of wanting a little more to dig into there at least, but [1:56:57] Chair/Presiding Officer: I can't think we could say that about all of it. I think some of them are just gases, I mean, I think for [1:57:06] Unidentified speaker (Panel Member): example, Celeste has a really detailed budget that goes into line items and specific, like she included, for example, of like her, she has, because of who she's working with for installation, she has line by line every portion of that installation. So for her, I have a, I don't, for a separate reason, which is that she's over budget, we can talk about that when we talk about her. So I think there was room in every proposal in my scoring at least that I, there was something I wanted more of or had a comment about, and that was, so I wanted more detail on Hey Girls just because I think, you know, it's, and I know, I know this is a challenging [1:57:49] Chair/Presiding Officer: budget to put together, very much aware of that, yeah, especially with the economy, everything changes so quickly. Now, what about Isabel? [1:58:08] Speaker L (unidentified): I still really enjoy her concept. [1:58:11] Speaker K (unidentified): I think I [1:58:14] Unidentified speaker (Panel Member): felt like some of the design elements and sort of the style of it wasn't communicating with the strength that I had maybe been for in her, in just a proposal phase. I think the carving is really beautiful and I, but it was hard for me to visualize it at [Speaker D (unidentified): the scale] I think that we're gonna get at and to know if we would get the contrast just with stone to give just enough to be able to communicate the motifs that there was so much happening and I struggled a little bit there in terms of some of the elements of design and especially how the [1:59:14] Chair/Presiding Officer: some of the visuals communicated that, like yes, because I was wondering was this going to show up and I think you did have a question about the black I think at the end and I still didn't quite [1:59:29] Unidentified speaker (Panel Member): understand how they were going to show up. Yeah, I think she talked about that basically when she does the patina and the finishing. She's got a carpet, but the outer edges will have more of a polished look. So even though it's black, it'll be reflecting light a little bit more. But again, black is so dark that you're really dependent on a sunny day for that because if you go out even on a cloudy day, that may not have enough reflection. [1:59:58] Chair/Presiding Officer: The one concern was that it's only on one side. So for the back, I guess it will still be the colors, but we won't get the benefit of the carding or any of the intricacies. For the side, it might look cool because it'll be just that thin piece, but in the back it won't be. [2:00:24] Unidentified speaker (Panel Member): I sort of, I read that as a little bit of this sort of duality of reflecting a street versus collecting the water, like I was seeing sort of a conversation there and that is part of like a design feature and intentional, you know, to give you two sort of unique perspectives. Another thing I did really like about it is the holes moving through like windows. I thought that would be really beautiful. That gives you that sight line of the water throughout. I thought that was really interesting. I think the one issue I had with that, though, is that they're pretty high up. So and on her initial proposal, they read very dark, so I didn't realize they were completely hollowed all the way through. I think potentially lowering those, I guess the quality of her carving is really exceptional. I think the vast color changes in the stone and kind of just the massing of it, when you think of, or at least when I think of quilting, it's usually smaller and it's like, it's almost mosaic in a way that the quilting thread, you can take a large panel and make it smaller. Whereas some of this, these bricks and the stones still just really large and I think it needed, it would need a lot of explanation on those things and that or whether that's in the landscape or directing you to a web page that talks about these, I don't think that people would be able to pick up on some of the issues she's trying to convey yeah and i think it's it might not even be really a matter of scale because i've seen you know painting quilt paintings on the side of barns from very far away you know that are massive that you can really make sense of what you're looking at you know so i think i think and then when i asked my question she didn't really seem to have a sort of knowledge or relationship to the act of quilting and so therefore it kind of makes sense right that like the practicality or the translation is sort of not happening right so i really i think that's where it struggled the most is it's really thinking about like what is quilting how does that how does that actually translate what is the experience or history that she has a relationship to it i think it's none so it kind of explains I think a lot of a lot of what we're finding. [2:03:25] Chair/Presiding Officer: Talk about Celeste, or do we have further comment on this? [2:03:33] Unidentified speaker (Panel Member): I'll just say one other thing. I think in looking at some of her past work, and I think in earlier conversations we talked about the issue of cash receipts in the Memphis film. And I think I was missing that in this proposal. It felt a little flatter, I think, than some of her previous public commissions that really resonated with me. [2:03:59] Speaker D (unidentified): So I [2:04:03] Chair/Presiding Officer: see what you're saying now, because I remember that moment in time. [2:04:07] Unidentified speaker (Panel Member): And I think a movable fabric was sort of what I had envisioned, and it doesn't, I just, I think this has just been more static. And [2:04:20] Chair/Presiding Officer: then Celeste's piece. I think it's interesting that you walk through it and you interact with it. That's something very different. But from a safety standpoint, kids are just really going to love those boulders. [2:04:43] Speaker L (unidentified): And they're all going to climb on them and [2:04:50] Chair/Presiding Officer: I mean I wonder if you know I can see high schoolers wanting to go try and break those things so I worry about safety and family in [Unidentified speaker (Panel Member): conservation yes] but man I loved the I just thought it was so different I love that sea beat and all that movement. The other thing I was wondering is from a distance, it's not going to have a large visual impact. And a cat had talked one time about being able to see it from the sea, you know, on a boat as you pass by. So I would be wondering how, if you could see it. But I did think it was gorgeous. [2:05:54] Unidentified speaker (Panel Member): Yeah Justin go ahead. Well I think it's definitely the strongest you know I think it's definitely and I think it is the most you know innovative and would be an interesting acquisition or sort of you know part of the collection but I don't I just don't think it goes there you know So I said I love this piece I don't think this is the right spot right yeah I could see it down on the knee on the neoc pier you know what I mean like because they're doing stuff with a c-meter done by gmri or other things so or whatever but yeah I just don't think it goes there unfortunately and that's an important part because I've been all [2:06:40] Chair/Presiding Officer: involved on art curated art and if you don't have that piece in the right place it's doing it justice and you're almost doing it a disservice and this is so gorgeous you know it might even [2:06:57] Unidentified speaker (Panel Member): be a different conversation if there was a budget for more of them you know or bigger or kind of you know other kinds of considerations I think could change could change it but where are we are where we are and yeah it just it is what it is I don't Know that I completely disagree. I do think it would be, I don't, I see that, but I also do feel that I just love changing the narrative from something that is so moved from the public and really engaging it. You know, it's definitely a more contemporary type of installation. And I understand, I think the design of the park is more formal, but there's something I love about that. And I think that it could to me that makes me excited to put it in a place that might be more unexpected outside of you know and so I that's something that I really I really like about it and it feels I don't know it feels like new and fresh and really contemporary but it also checks a lot of boxes for me in terms of what our request for proposal was, you know, I think the way that it connects in a new and interesting sort of way, it's just a different way. Oh, yeah,. It makes, it's the one that makes me the most excited, right? I mean, I think it's so interesting, but, and I think, again, it is, it's just about what she envisions the execution of it is because if it was higher up right and if you couldn't you know a five-year-old couldn't climb up to and touch it you know and it was like this other thing I think it's a different conversation at that point but the way it's being presented is sort of I don't know because the forms themselves right I mean it's just it could be such a very cool thing for us to do Especially in this new place you know sorry to interrupt you Sharon no I think so one of the Things I would know is this is phase one of multiple phases of this waterfront and what talking about phase two is going to potentially have more engagement with the water that just this I can't help but already picture this in that space I don't even know what that space going to look like. But I think this really just seems like she said her draw to the water. This has me drawn to the water. I like the idea that kids could be in there. Even though she says it's durable enough, I think maybe the thicker, seeing at least a sample of the thicker mold would be maybe a little bit more reassuring. But the idea that this could potentially be in a plaza that has a slat pad and water and you can see the daughter engaging with it. I think that 's where I think in my mind it fits a little bit more than like you said this what we're installing for this part is a little bit more traditional you know linear pathways nodes things of that nature where this is literally as whimsical as you can you know even the names whimsical [2:10:35] Chair/Presiding Officer: I love the whimsical and not being too serious that is hopeful that perhaps this could be an ongoing conversation and take it somewhere because the bottom line is we don't have another so when you put out of your budget, you're always thinking, oh, it's going to be that little bit over, like 5% or maybe 10%. But if you start out $20,000 over your budget, and you don't have that $20,000, then what happens when that goes up? Now we're $30,000 over budget. Now we're $40,000 over budget. So perhaps if this was in a different place at a different time, maybe [2:11:27] Unidentified speaker (Panel Member): be there would be a different budget attached and again for all of the research industry she talked about there's I think there's opportunity to go to those places and say we really like this piece in the future could is there any way to fundraise and try to help this come to fruition. [2:11:46] Chair/Presiding Officer: I yeah and what was this point when there was also some unknowns yeah so one of my [2:11:55] Unidentified speaker (Panel Member): the bugger one here out of all the three I think the most concerned she had unknown for the structural and that was a component that we did ask all of that to have that this one could have some you know I know she had a detail on what her intention of that anchoring is I would very much want to structural engineer and that would be also very specific on consent granite she's selecting as well so that would that would be an additional cost on top of that a structural engineer huge cost I [2:12:36] Chair/Presiding Officer: know when I'm doing a house just hello you said you're doing I don't think I [2:12:43] Unidentified speaker (Panel Member): mean I think we'd be in the range of a few thousand I don't I don't think it's gonna be ten so but like houses are much you're living in that so that's much more critical but I think they would want to do some counts just on how strong they feel that anchoring is because yes the zip itself may not break but at that dowel and that anchor point if the stone has any give then you see another issue no I have those concerns definitely. About budget too, I mean, I think she's really pretty articulate, I think, in the presentation about many line items, but it's very hard to look at unknowns. I did notice, it's interesting, Kerr, she actually has the smallest artist fee of all of the artists, which is sort of an interesting budgeted line item. So I think- [2:13:37] Chair/Presiding Officer: But if you look at it, she does have travel to other places. [2:13:42] Unidentified speaker (Panel Member): I think the travel was for the installation. She did have travel to Addison for the actual- But that was, I think that was only like $500. Yeah. Well, and I only bring it up because in her note about the budget, she also says, you know, she has, and she has pretty healthy contingency, which is not, which would give space for other things, not full overage for sure, but it does give up space for other things. She said, I prefer not to reduce my design fee of this amount, but keep the possibility. So I just want to note that it's clear that she is aware of some of the separation there and making note of it. But I agree, you know, it's a hard number to look at. And we know what our budget is and also the challenges and what will come up inherently with a large scale public. [2:14:44] Chair/Presiding Officer: And then just our history of having to scrape and save that money and work for that money. And how much discussion it was to even spend the money. And it's like, where do we get more? But, wow, I just feel like we're so lucky to have three really, fabulous applications. And to have such a difficult decision. It's it's a double-edged sword being a privilege and oh my god I don't want to decide yeah I [2:15:21] Public Commenter: Commend the subcommittee I think all three were really strong so that's really impressive out of all the commissions you have to bet good job on that certainly I think in terms of the next steps the committee is the next step would be for the committee members if you haven't and to fill out their scorecard and then we would tally up the totals and that would kind of give you selection and then that would be the recommendation for the full committee if folks feel comfortable filling out those Sheets or if you have to [2:15:57] Chair/Presiding Officer: Do you want to send that to me you can email [2:16:01] Public Commenter: Yeah, you can email me. Do you want to email me so I can look at it? [2:16:12] Chair/Presiding Officer: Are we going to call him now? We were going to, yeah. Okay, can you send it to? Okay. [2:16:23] Unidentified speaker (Panel Member): Is Justin there? Yeah, Justin's there. Okay. What? Yeah, I could send it. Okay. I thought you were going to. No, send it to me because I don't have a computer. [2:16:37] Public Commenter: Yeah, I think that would be a good job. [2:16:39] Chair/Presiding Officer: I'm going to give it to Nathan. Because y'all have to pay me to do that. [2:16:45] Public Commenter: Nathan, that's a good job. Justin, [2:16:50] Xiaohuang (City Staff): you can send it to public art at portland.gov. [2:16:55] Unidentified speaker (Panel Member): I don't think Kevin's connected to it. Cooperation. [2:16:59] Chair/Presiding Officer: I'm going to fill it out. What does cooperation mean? I [2:17:06] Unidentified speaker (Panel Member): think it's sort of, my understanding is it's the lines of how they would work together with Austin State. Yeah. The guidelines. [2:17:16] Public Commenter: Demonstrated the ability of the arts to work closely and cooperatively with MIGI's staff. So already somebody that could kill us in a deal, you couldn't help but not challenge it. [2:17:34] Chair/Presiding Officer: Yeah. But I keep changing. All right. All right. [2:17:38] Public Commenter: You're exactly MIGI. We'll sit back. [2:17:43] Unidentified speaker (Panel Member): I'll let you in. I don't want to check double check my numbers because I don't want to be unresponsive all that time. I'm going to put a little deciphering of an eight on this. It's 1.5. No,. Oh, [2:17:55] Chair/Presiding Officer: it's simple. Okay. I'm going to say blue side up. You didn't follow the rules. Okay. I said that's what I get because then they'll scribble all over everything. Say weird sugar because of that. [2:18:24] Unidentified speaker (Panel Member): See, you're changing them too. It's not just me. No,, it's not what the conversation's about, you know. [2:18:40] Chair/Presiding Officer: And they're so enjoyed off the presentation. So it's just a lot of effort. [2:19:03] Unidentified speaker (Panel Member): Sean, can I send it to you or? [2:19:06] Xiaohuang (City Staff): Yes, that works. Okay. [2:19:13] Chair/Presiding Officer: Yeah. Is that a made up background? Yeah. [2:19:19] Unidentified speaker (Panel Member): What is your back? Justin, what's your background? like the shimmering it's for step and repeats at birthday parties oh wow it's like blurred from the image you want our name or i think that's yeah what's your name oh okay you want our name Yeah, I don't please double check that [2:20:44] Chair/Presiding Officer: either the skirt preservation committee gets dinner. [2:21:16] Public Commenter: I know, there's a lot. I think for anybody who's playing, it's all pizza. [2:21:25] Chair/Presiding Officer: Oh, Anna would never speak to us again if we didn't have pizza. She loves that pizza. I [2:21:38] Unidentified speaker (Panel Member): think all of us have an exact same third season score. [2:21:47] Chair/Presiding Officer: Wow. You know, we pretty much cut the same. [2:25:34] Public Commenter: So now there's post-selections. [2:25:36] Speaker D (unidentified): Oh, crap, it's kind of in the past. [2:25:38] Chair/Presiding Officer: They have scores to tell. Oh. Great. [2:25:43] Public Commenter: Sorry, Eric. Gabriel was selected artist at 161 total points. And second was Sylvester at 142. And third was Isabel at 141. Nice. [2:26:01] Unidentified speaker (Panel Member): Can you read those again? [2:26:09] Public Commenter: Gabriel 142 was Celeste and 141 was [2:26:15] Speaker D (unidentified): Isabel I [2:26:21] Unidentified speaker (Panel Member): did my best on my phone [2:26:29] Speaker D (unidentified): Google Controls and when do we want that letter by I'm sorry [2:27:12] Public Commenter: Okay. And then we have 214, the loss was 195, and the bill was 185. [2:27:20] Chair/Presiding Officer: 214, 195, and 185? Correct. Okay. [2:27:26] Public Commenter: All right. Here's the other question that I was still counting. The letter. So what we'll do is we'll just start a template that we'll share with the subcommittee, share, and you will ultimately sign it. But we've asked all of you to participate. We'll write the letter, craft it around the process. MS, criteria, making sure that it speaks to how your deliberation and your voting, and then ultimately if you're good with it, Sharon will sign it. That will be included in the packet of the Public Art Committee in June. Ask Sharon or some committee as a whole to speak to the process and your recommendation, and then ultimately they would go to accept that. If they choose a different path, you kind of come back and see the deliberation that's grouped. [2:28:07] Unidentified speaker (Panel Member): Do you think that's it? Thank you so much. I know it's a long time. [2:28:12] Chair/Presiding Officer: It was, and thank you so much, and I know Kat and Sean and I spent hours, and I spent three days, 14 hours a day, reading all the initials, applications, because it was over a thousand pages. Yeah, it was a lot. So everybody could do a lot of work and Justin Phoebe, Kat [2:28:40] Speaker K (unidentified): Everything they can do. [2:28:41] Chair/Presiding Officer: Thank you so much. It just shows how much we care about the city and how much we care about Barnes and care about what we're doing. [2:28:53] Public Commenter: Thank you so much. [2:28:54] Unidentified speaker (Panel Member): Thank you Justin. [2:29:02] Speaker D (unidentified): We'll see you later. Yeah, thanks so much, Justin. Bye, everyone.