HomeMy WebLinkAboutCS 13-23
Report to
Executive Committee
Report Number: CS 13-23
Date: May 1, 2023
From: Sarah Douglas-Murray
Director, Community Services
Subject: Millpond Meadow, Pickering Museum Village – Artist Selection
-Commission of Public Art
-File: A-1440-001
Recommendation:
1. That Council endorse that the commission of public art for Millpond Meadow at Pickering
Museum Village be awarded to Sean Procyk and Sarah Fuller of Bluff Studio in the
amount of $80,000.00 (HST Included);
2. That Council authorize the Director, Finance & Treasurer to finance the net project cost of
$72,042.00 as approved in the 2023 Current Budget as follows:
a) the sum of $36,021.00 to be funded by the Healthy Communities Initiative,
Community Foundations of Canada;
b) the sum of $36,021.00 to be funded by the Building Communities Through Art and
Heritage, Legacy Fund, Government of Canada;
3. That the Mayor and the City Clerk be authorized to execute the Letter of Understanding,
between Bluff Studio and the City of Pickering, set out in Attachment 4, subject to minor
revisions acceptable to the Director, Community Services and the Director, Corporate
Services & City Solicitor; and,
4. That the appropriate officials of the City of Pickering be authorized to take the necessary
actions as indicated in this report.
Executive Summary: Grant funding has been confirmed through the Building
Communities Through Arts and Heritage, Legacy Fund and the Community Foundation of
Canada’s Healthy Communities Initiative for the creation of an accessible outdoor gathering
space and classroom, landscaping and public artwork at the Millpond Meadow at Pickering
Museum Village. The Public Art Policy (CUL 130), as set out in Attachment 1, outlines the
criteria, process and guidelines by which public art is procured by the City of Pickering.
Section 09.10 of the Purchasing Policy states that “Public Art Project purchases or Public Art
projects with costs that exceed $25,000 are subject to Council approval”. Therefore, the
purpose of this Report is to seek Council endorsement to proceed with the commission of
public art for Millpond Meadow at a cost of $80,000.00 (HST included).
CS 13-23 May 1, 2023
Subject: Millpond Meadow, Pickering Museum Village – Artist Selection Page 2
As per Public Art Policy (CUL 130), this purchase of artwork is being recommended following a
publicly promoted Call to Artists with pre-qualification of artists. The selection of artists was
completed by a Public Art Jury, Public Art Committee and the Cultural Advisory Committee.
The proposal On the Backs of Fish, by artists Sean Procyk and Sarah Fuller of Bluff Studio
received the highest juried score, and was recommended and endorsed by the Public Art
Committee and Cultural Advisory Committee.
Financial Implications: This public artwork is fully funded from confirmed grant funding.
The City of Pickering received $40,000.00 from the Healthy Communities Initiative, Community
Foundations of Canada, and $40,000.00 from the Legacy Fund, Government of Canada. Grant
funding was confirmed in 2022, and the Millpond Public Art commission in the amount of
$80,000.00 was included as a planned expense in the 2023 draft Current Budget, account
10200.502520.9710.
1. Estimated Project Costing Summary
Agreement $70,796.00
Total Project Cost $70,796.00
HST (13%) 9,204.00
Total Gross Project Costs $80,000.00
HST Rebate (11.24%) (7,958.00)
Total Net Project Costs $72,042.00
2. Approved Source of Funds
Approved Code Source of Funds Budget Funds Required
10200.502520.9710 Grant- Community Foundations $40,000.00 $36,021.00
of Canada
10200.502520.9710 Grant- Legacy Fund, 40,000.00 36,021.00
Government of Canada
Total $80,000.00 $72,042.00
Project Cost under (over) approved funds by $7,958.00
Discussion: Grant funding was approved on March 29, 2022 by the Government of Canada
(Legacy Fund) and August 30, 2022 by the Community Foundations of Canada. The grants
require that all funds are spent prior to December 31, 2023. Grant funding was provided for the
creation of an accessible outdoor gathering space and classroom, landscaping and public
artwork at the Millpond Meadow at Pickering Museum Village. The accessible outdoor
CS 13-23 May 1, 2023
Subject: Millpond Meadow, Pickering Museum Village – Artist Selection Page 3
gathering space and landscaping are currently in progress and are expected to be completed
in the spring of 2023.
As per Section 08.01 of the Public Art Policy (CUL 130), an Open Call was selected as the
Method of Acquisition. A two-stage process was selected in which Stage 1 would pre-qualify a
short list of three artists. The three selected artists would then be invited to participate in Phase
2 in which they submitted a detailed project proposal.
A Call to Artists was issued on October 7, 2022 (Attachment 2). The Call to Artists was
advertised through the City of Pickering website as well as Akimbo, PineRidge Arts Council
(PRAC) newsletter, Community Services Distribution List, Creative Cities Network of Canada,
DurhamRegion.com, and through Social Media.
As per Section 07.02 of the Policy, a Public Art Jury must be established for each acquisition
of $25,000.00 and over in value. The Public Art Jury is to be organized on a case by case and
project by project basis. The Public Art Jury evaluates the artist proposals in accordance with
the Artist Evaluation Criteria in Section 07.03 and Selection Considerations in Section 09 of
the Policy. A Public Art Jury was convened to judge the submissions based on criteria
established in the Public Art Policy.
Twenty-four artists responded to the Call to Artists with a conceptual design proposal. The
Public Art Jury met on January 9, 2023 to confirm the results of the scoring and select the top
three artists to move to Phase 2 as per the information set forth in the Call to Artists. The
Cultural Advisory Committee endorsed the top three artists as selected by the Public Art Jury
at their meeting on January 17, 2023.
The Phase 2 proposals were received on February 24, 2023. Each artist presented their
concept to the Public Art Jury on March 2, 2023. The Public Art Jury reviewed the judging
criteria, scored each proposal and ranked the top three finalists following the artist’s
presentations.
Following scoring and discussion, the Jury recommended that Bluff Studios be awarded the
commission of public art in Millpond Meadow. The Public Art Committee met on March 17,
2023 to review the selection made by the Public Art Jury and recommended the selection to
the Cultural Advisory Committee. The recommendation was endorsed by the Cultural Advisory
Committee on March 21, 2023.
The conceptual design proposal is set out in Attachment 3.
The Artists made the following statement: “On the Backs of Fish is an interactive sculpture that
forms a connection between landscape, community and ecology. The work would be made
using a proprietary Glass Fibre Reinforced Concrete material called Cloudcrete. Formal
elements of the work take inspiration from a run of salmon swimming upstream, with the fish
forms emerging from Millpond Meadow, mimicking the movement of the fish as they navigate
the current. The installation speaks to the important place salmon have in the Lake Ontario
watershed ecosystem.”
CS 13-23 May 1, 2023
Subject: Millpond Meadow, Pickering Museum Village – Artist Selection Page 4
Salmon are reintroduced into Duffins Creek from the Millpond Meadow annually by the Ontario
Federation of Anglers and Hunters and the Ontario Ministry of Natural Resources and
Forestry. The Pickering Central Library supports a salmon hatchery and the release site at
Pickering Museum Village directly tie into the broader vision of the Atlantic Salmon’s story and
the community’s investment in ecosystem protection and repair.
The intention of On the Backs of Fish is to tangibly reveal the salmon in the meadow adjacent
to Duffins Creek while also offering a sculptural environment in which to discuss and learn
about the species and its re-emergence in the ecosystem.
The larger than life school of fish will be installed in the field alongside the new armour stone
gathering circle, adjacent to Duffins Creek. The intention is that On the Backs of Fish will form
a bridge between the learning space of the museum and the watershed itself -an interactive
work that encourages play and an embodied understanding of how the fish travel through the
landscape.
Bluff Studio has over 10 years of experience conceptualizing, managing and executing
innovative site-responsive public art works. Their mandate is to cultivate vibrant, engaging and
equitable public projects that foster healthy communities and strengthen the urban fabric.
Staff request that Council endorse the commission of public art for Millpond Meadow be
awarded to Bluff Studios in the amount of $80,000.00 (plus HST).
The Letter of Understanding (set out in Attachment 4) defines the relationship and
responsibilities between the City and the Artist. Staff are requesting Council to authorize the
Mayor and City Clerk to execute the Letter of Understanding with Bluff Studios.
Subject to Council’s endorsement of the purchase of this artwork, the artists will begin
fabrication of the artwork which will be installed in December 2023.
Attachments:
1. Public Art Policy (CUL 130)
2. Millpond Meadow Call to Artists
3. Artist’s Conceptual Detailed Proposal
4. Agreement – Letter of Understanding
Prepared By: Approved/Endorsed By:
Original Signed By: Original Signed By:
Laura Gibbs
Division Head, Cultural & Community Programming
Sarah Douglas-Murray
Director, Community Services
CS 13-23 May 1, 2023
Subject: Millpond Meadow, Pickering Museum Village – Artist Selection Page 5
SDM:lg
Recommended for the consideration
of Pickering City Council
Original Signed By:
Marisa Carpino, M.A.
Chief Administrative Officer
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Procedure Title: Public Art Policy
Policy ·
Policy Number
CUL 130
Reference Date Originated (m/d/y)
November 25, 2019
Date Revised (m/d/y) Pages
Report #CS 36 -19
Resolution# 167/19
Approval: Chief Ad
Policy Objective
21
Point of Contact
The City of Pickering is a vibrant community, rich in diversity, heritage, environment and the arts.
· As the City continues to grow and intensify, public art will play an integral role in creating an
inviting and livable City .
This Policy establishes the framework for a sustainable Public Art Program that will deliver public
art throughout the City that will :
• create attractiveness;
• promote community identity;
• reflect diversity and community landscape ;
• celebrate heritage;
• create a sense of place and attract interest;
• provide amusement, reflection and intrigue to a community, and ,
• be selected through an objective and professional public art selection process that has a
commitment to artistic merit.
The Public Art Policy and supporting Public Art Program will enhance the public realm,
demonstrate the City's support for the arts and culture sector, and provide economic benefits .
. Index
01 Definitions
02 Guiding Documents & Policy Context
03 Policy Statement
04 Purpose and Objectives
05 Administration
06 City Representation
Attachment 1 to Report CS 13-23
07 Selection Process
08 Acquisition
09 Selection Considerations
10 Site Selection
11 Collections Management
12 Maintenance & Conservation
13 Insurance
14 Storage
15 Agreements & Installation
16 Deaccession & Disposal
17 Copyright and Intellectual Property
18 Artist Remuneration
19 Community Engagement & Awareness
20 Pickering Public Art Interactive Map
21 Public Art Development by the Private Sector
22 Funding
01 Definitions
01.01 Accession -the act of recording and processing artwork to the City's Public Art
Collection.
01.02 Acquisition -obtaining ownership of public art through purchase, commission, donation,
gift or bequest.
01.03 Archiving -the act of long-term storage and preservation of public art in a location owned
by the City of Pickering. Archiving of public art may include storage and preservation of
the original art piece, or a photographic/digital record of the original art piece.
01.04 Artist -the designer/creator of an artistic work and can include, but is not limited to, a
professional artist, graphic designer, collaborative team, architect, or landscape designer.
01.05 Borrowed -refers to an artistic work that is borrowed by the City, through a loan
agreement, for a defined period of time from a lender who owns and retains ownership of
the artistic work.
Policy Title: Public Art Policy Page 2 of 21
Policy Number: CUL 130
01.06 Call to Artists -a request for proposal that outlines the scope of the Public Art that the
City wishes to acquire. The Call to Artists will outline aspects such as project theme,
timeline, compensation, and location.
01.07 Commissioning -the act of requesting and paying an artist to design and create a
specific piece of art.
01.08 Community Art -artistic work created collaboratively between an artist and an identified
community. Community members actively participate in the creation of the artistic work.
The artistic process is of equal importance to the artistic product.
01.09 Community-Based Public Art-created as a result of a collaborative process between
community members; which may or may not include the use of a professional, practicing
artist, engaged in a collective method of art making.
01.10 Conservation -the maintenance and preservation of works of art and their protection
from future damage and deterioration.
01.11 Copyright-the exclusive legal right to produce or reproduce, publish, print, sell, or
distribute the matter and form of something or any substantial part thereof, such as
literary, musical, or artistic works (e.g., drawings, paintings, photographs and sculptures).
01.12 Creative Place-Making -a practice where people are inspired collectively and
collaboratively to reimagine, reinvent, and shape public spaces to maximize the shared
value, as the heart of the community.
01.13 Deaccession -the act of permanently removing, relocating to another jurisdiction, or
disposal of artwork from the City's Public Art Collection.
01.14 Intellectual Property-the legal right to ideas, inventions and creations in the industrial,
scientific, literary and artistic fields.
01.15 Moral Rights -the artist has the right to the integrity of the work and the right, where
reasonable in the circumstances, to be associated with the work as its author by name or
under a pseudonym and the right to remain anonymous. Moral rights are non-transferable
and endure even after copyright has been assigned.
01.16 Municipally Owned Public Space -includes but is not limited to parks, road allowances,
tunnels, boulevards, streets, courtyards, squares and bridges, as well as building
exteriors, foyers, concourses, and significant interior public areas of municipal buildings.
01.17 Permanent Public Art -an original artwork which is situated at a particular site for longer
than one year.
01.18 Public Art -art developed and designed by a professional artist that is displayed on
municipally-owned public space. Public art may include, but is not limited to:
• sculptures;
• murals;
• memorials or monuments;
Policy Title: Public Art Policy Page 3 of 21
Policy Number: CUL 130
• fountains or water features that contribute aesthetically to their surroundings (not
splash pads);
• hard and soft landscaping components; which are not a mere extension of the
landscape/architecture;
• architectural components, specialized lighting; and
• Community art projects related to neighbourhood beautification.
01.19 Public Art Committee -is responsible for working with Community Services staff to
provide advice and expertise; build public awareness and support for public art; and,
identify eligible Public Art Jury members, when required.
01.20 Public Art Jury -is a group of residents, professionals and staff selected who evaluate
artist proposals in accordance with the Artist Evaluation Criteria and Acquisition Criteria.
The Public Art Jury is responsible to narrow down selections for acquisition.
01.21 Professional Artist-a person who is critically recognized as an artist, they possess skill,
training and/or experience in an artistic discipline, is active in and committed to their art
practice, and has a history of public presentation.
01.22 Public Space -space available for use by the public that includes, but it is not limited to,
parks, boulevards, trail systems, open spaces, waterways, roads, bridges, gateways,
streetscapes, civic squares, interior and exterior public areas associated with buildings, or
structures owned, operated, occupied or used by or for the City.
01.23 Restoration -the repair or renovation of artworks that have sustained injury or decay to
something approaching their original undamaged appearance.
01.24 Signage -any medium used to convey information by way of words, pictures, graphics,
emblems or symbols, or any device used for the purpose of providing direction or
information, identification, advertisement business promotion or the promotion of a product
activity, service, or idea.
01.25 Transitory Public Art -an original artwork that are temporary, which could include a
variety of mediums and can incorporate experimental public art projects.
02 Guiding Documents & Policy Context
02.01 The City of Pickering Cultural Strategic Plan (2014) sets a vision for arts, culture and
heritage in the City; and, identifies strategic directions for policy and programs. One of the
Plan's strategic directions is to cultivate opportunities for the creation, education and
enjoyment of the arts, including:
• developing and implementing a Public Art Policy, program, and funding formula;
• using art to enhance public spaces, particularly within the City Centre;
• assigning a one percent contribution to public art from the capital budgets of applicable
new or renovated facility and park projects; and,
• establishing a Public Art Reserve Fund.
Policy Title: Public Art Policy Page 4.of 21
Policy Number: CUL 130
02.02 The City of Pickering Official Plan acknowledges that the quality of the built environment
can be enhanced by promoting the integration of art in public places. Specifically, the
Official Plan:
• promotes art in publicly-accessible and visible locations such as parks, prominent
street corners, plazas and on buildings;
• encourages public art in a broad range of media, themes and formats in order to
engage the observer, foster civic identity and promote social interaction; and,
• considers integrating public art in the early stages of the design and planning of
developments.
02.03 The City Centre Urban Design Guidelines encourage permanent and transitory/temporary
artworks to promote a sense of identity for the City Centre.
02.04 The Seaton Sustainable Place-Making Guidelines recognize that public art should be
highly visible and serve as accents to the community by encouraging public art to be
located at community core gateways.
03 Policy Statement
03.01 The City of Pickering is committed to and supportive of the benefits of public art and
recognizes that art in public spaces is a valuable asset that enhances the social/cultural,
built heritage and natural environments. Through public art, we beautify our environment;
engage the community in Creative Place-Making; and, celebrate our values, stories,
culture, heritage, and diversity while defining our unique identity. Public Art enhances
quality of life for citizens and visitors; and, strengthens community pride, tourism and
economic growth. The commission and acquisition of Public Art is exempt from the City's
Purchasing Policy and must therefore be conducted in accordance with the processes
outlined in this Policy.
04 Purpose and Objectives
04.01 The purpose of the Public Art Policy is to:
i. Establish, for the City, a standardized and transparent process for the selection,
acquisition, maintenance and deaccession of Public Art; and,
ii. Provide, for the City, a sustainable funding model for the management of Public Art.
04.02 The framework for a Public Art Program established in this Policy is intended to provide a
standardized and transparent structure for these processes to include:
• long-term planning;
• establishing a funding framework;
• creating an administrative structure;
• identifying opportunities for public art;
• initiating completions and a selection process;
• implementing and/or assisting with public art projects; and,
• ongoing maintenance, management, deaccession and disposal of the public art
collection.
Policy Title: Public Art Policy Page 5 of 21
Policy Number: CUL 130
04.03 The Public Art Policy applies to temporary and permanent installations, including
community art. The City may authorize public art that it does not own, to be placed on
municipally owned public space through an agreement between the City and the owner of
public art.
The City will not purchase or display art that:
• violates any City policy;
• conveys a negative message that might be deemed prejudicial;
• promotes alcohol and other addictive substances;
• presents demeaning or derogatory portrayals of individuals or groups or contains
anything, which in light of generally prevailing community standards, is likely to cause
deep or widespread offence; or,
• is in direct competition with City of Pickering services, programs or initiatives.
05 Administration
05.01 The Public Art Policy and Program will be administered by City of Pickering Community
Services staff in collaboration with City Development staff, the Public Art Committee, the
Public Art Jury, and the Council of the City of Pickering.
05.02 Any member involved in the administration of the Public Art Policy and Program shall
declare a conflict of interest, pecuniary or otherwise, and remove themselves in all cases
from a juried selection process or any decision regarding the acquisition of public art in
which they are involved either directly or indirectly.
06 City Representation
06.01 Council
The Council of the City of Pickering is responsible to:
• approve and uphold the Public Art Policy and any amendments;
• approve annual Public Art funding and expenditures in the Capital and Current
Budget; and,
• act as an advocate for art in Public Spaces, and Private Developments in the City.
06.02 Chief Administrative Officer
Chief Administrative Officer (CAO) to:
• approve and uphold the Public Art policy, along with any amendments;
• approve any changes to the Public Art policy, as needed;
• act as an advocate for Public Art in Public Spaces, and private developments; and,
• support Public Art budget through the budget process.
Policy Title: Public Art Policy Page 6 of 21
Policy Number: CUL 130
06.03 Director, Community Services
Director Community Services to:
• uphold the Public Art Policy, along with any amendments;
• recommend any changes to the Public Art Policy, as needed; and,
• recommend the Public Art budget annually via the Community Services Department
Capital and/or Current Budget.
06.04 Community Services Staff
The Community Services Department has the primary responsibility for administering the
Public Art Policy and Program, and will work in cooperation with all other City departments
to ensure its appropriate implementation. The City Development and Engineering
Services Departments have a supporting role in implementing the Public Art Policy and
Program.
Community Services Department staff are responsible to:
• oversee and implement the management, development, monitoring and evaluation of
the Public Art Policy and Program;
• manage the Public Art collection including acquisitions, maintenance, conservation,
research, interpretation and deaccessions;
• develop standards and procedures to ensure consistent implementation of the Public
Art Policy and Program,
• identify, approve appointments and establish the Public Art Committee;
• work with the Public Art Committee to identify Public Art priorities, locations and
initiatives (i.e. Public Art Work Plan);
• facilitate regular Public Art Committee meetings, circulating information, providing
guidance and arrange for the recording of minutes;
• facilitate Public Art Jury meetings, circulating information, providing guidance and
arrange for the recording of minutes, as may be required;
• develop "call to artists" and coordinate the selection process;
• establish artist selection processes,-manage artist contracts, and compensation;
• liaise with selected artists to oversee installation and develop agreements;
• develop promotional and marketing initiatives to community Public Art activities;
• establish, maintain and promote the Public Art public inventory;
• identify, prepare, and incorporate amendments to the Public Art Policy and Program
that do not have a financial impact, with approval from the CAO;
• advise Council, staff and residents on the Public Art Policy and related initiatives;
• develop the Public Art budget through the City's annual budget process; and,
investigate Federal, Provincial, or other sources of funding to promote and support
the development of Public Art in the City.
Policy Title: Public Art Policy Page 7 of 21
Policy Number: CUL 130
06.05 City Development Department
City Development staff to:
• work with Community Services Department staff to identify appropriate locations for
public art;
• ensure public art is considered in the planning of new communities, development of
·community design guidelines, and design of corporate and community facilities; and,
• encourage and secure public art through the review and approval of development
applications.
06.06 Engineering Services Department
Engineering Services staff to:
• work with Community Services and City Development staff to ensure the safe and
proper installation of public art on City owned property;
• incorporate public art into parks, landscaping, and streetscapes; and,
• ensure site lines are maintained in locating and positioning of public art on City
owned and private property.
06.07 An inter-department Public Art planning team will be established to work in conjunction
with the Public Art Committee for selection of artistic works and ongoing long-term Public
Art planning, including site selection, restorations, conservation and maintenance. This
planning team will include staff representatives from:
• Community Services;
• City Development; and,
• Engineering Services.
06.08 The Interdepartmental Public Art Planning team may also be comprised of the following,
as appropriate:
• City of Pickering Library staff;
• City of Pickering Heritage Planner; and,
• Representatives (e.g. department heads) from other City of Pickering departments
that may be impacted by the location of a public art project.
07 Selection Process
07.01 Public Art Committee
The Public Art Committee will be a standing sub-committee of the City's Cultural Advisory
Committee. The Public Art Committee shall be comprised of seven members from the
community selected by the Cultural Advisory Committee. Three members will be from the
Cultural Advisory Committee itself. The other four members will not be members of the
Cultural Advisory Committee, but will have professional experience related to at least one
Policy Title: Public Art Policy Page 8 of 21
Policy Number: CUL 130
of the following disciplines; urban planning or development, landscape architecture,
architecture, visual, literary or performing arts, art history, art administration or education,
curation, visual arts consulting, civil engineering, art review/writing, or heritage research
and planning. All members of the Public Art Committee shall be residents of Pickering
and will demonstrate a significant knowledge of arts and culture.
The Public Art Committee will:
i. Advise on the implementation of the Public Art Policy through the Cultural Advisory
Committee.
ii. Review proposed project scope and terms of reference for each new Public Art
project.
iii. Evaluate and select artwork, under $25,000 in value, in accordance with the Artist
Evaluation Criteria in Section 7.3 and Acquisition Criteria in Section 6.0 of this
Policy.
iv. Ensure application of established procedures and guidelines for each selection
process.
v. Advise and promote communication and outreach of this Policy to the community.
vi. Advise on the development and implementation of selection, acquisition,
maintenance, and deaccession of artistic works to which this Policy applies.
vii. Advise and recommend to the City, through the Cultural Advisory Committee, on
proposed gifts, donations and bequests to the City in accordance with established
guidelines.
viii. Review the results of the Public Art Jury, and put forward a recommendation to
acquire for endorsement of the Cultural Advisory Committee to acquire the proposal
with the best marks, or put forward for community consultation.
The Committee will be subject to City policies to ensure fair and equitable treatment of all
participants in the process and to ensure their recommendations are without bias.
Specifically, the City will not purchase or display art that:
• violates any City policy;
• conveys a negative message that might be deemed prejudicial;
• promotes alcohol and other addictive substances;
• presents demeaning or derogatory portrayals of individuals or groups or contains
anything, which in light of generally prevailing community standards, is likely to cause
deep or widespread offence; and,
• is in direct competition with City of Pickering services, programs or initiatives.
All decisions made by the Public Art Committee shall be endorsed by the Cultural Advisory
Committee.
07.02 Public Art Jury
A Public Art Jury must be established for each acquisition of $25,000 and over in value,
and may also be established for works of a lesser amount at the discretion of the Public
Art Committee. The Public Art Jury will be organized on a case by case, and project by
project basis.
Policy Title: Public Art Policy Page 9 of 21
Policy Number: CUL 130
The Public Art Jury will evaluate artist proposals in accordance with the Artist Evaluation
Criteria in Section 07.03 and Acquisition Criteria in Section 06.04 of this Policy. The Public
Art Jury is responsible to narrow down selections for acquisition and present the three top
ranked proposals to the Public Art Committee, for final recommendation to the Cultural
Advisory Committee. Dependant on the impact the public art will have on the community,
the three top-ranked proposals may be presented for community consultation.
While the ultimate objective of the Public Art Jury is to reach an unanimous decision,
members may be divided in their evaluations and as such, a Public Art Jury will consist of
uneven numbers to enable a majority vote.
The composition, duration and terms of reference for any Public Art Jury will be dependent
on the nature of the Public Art project. Appointees to a Public Art Jury may consist of:
• Three City staff which may include representatives (e.g. department heads, Heritage
Planner, Library) from other City of Pickering departments, as appropriate, that may
be impacted by the location, or subject matter of a Public Art project.
• Three resident members from the Public Art Committee.
• Two professional artists that are not residents of the City of Pickering.
• One professional architect that is not a resident of the City of Pickering.
In certain circumstances, members of a Public Art Jury with external expertise (e.g.
professional architect or professional artist) may be compensated for their time on the
Public Art Jury.
07.03 Artist Evaluation Criteria
When evaluating specific artwork proposals, the Public Art Jury will consider the vision,
mandate and objectives of the Public Art Program and the specific aims in the project
brief. The Public Art Jury (as per section 07.02) will also consider the artist's:
• artistic excellence of previous work;
• ability to achieve the highest quality of contemporary artistic excellence and
innovation;
• professional qualifications and relevant working experience as related to the public
art project brief;
• ability to manage a project and experience working with a design team, project team
and/or community group, as appropriate;
• potential to comprehend, access and interpret relevant technical requirements; and,
• interest in and understanding of the public art opportunity and the context.
07.04 Exhibitions
The City of Pickering will host exhibitions of art in community facilities by:
• professional artists whose work is relevant to the community;
• Pickering artists, or artists whose work is Pickering based;
• artists that are members of a Pickering-based arts organization; and,
Policy Title: Public Art Policy Page 10 of 21
Policy Number: CUL 130
• City staff or their immediate family members.
The City of Pickering will create and facilitate opportunities for local businesses to display
public art and/or undertake temporary art exhibitions.
The content of art exhibitions is at the discretion of Community Services staff and must be
suitable for viewing by all ages.
07.05 Artist in Residence
The City of Pickering will provide opportunities for an Artist in Residence program,
provided that:
• funding exists through a grant or approved budget;
• the residency is of mutual benefit to the City and the Artist(s);
• a portion of the works created will remain in the City Collection; and,
• artists are properly compensated for their work, space and accommodation.
An Artist in Residence will work in partnership with the City and interested external
organizations, and agencies.
08 Acquisition
The City may acquire works of art through purchase, commissioning, donation, or creation
of community arts projects. All works to be purchased, commissioned or donated will be
subject to the terms and conditions of the Public Art Policy and incorporated into the Public
Art Inventory.
08.01 Purchase or Commission of Art
The process for purchasing and commissioning art will be fair and transparent and will be
in accordance with the City's Purchasing Policy.
Depending on the nature of the artwork, it may be secured through:
• The issuance of an Open Call. This type of competition is the preferred method which
sees a "Call to Artists" developed and issued. A "Call to Artists" can be geared
towards local, provincial, national and/or international artists, and/or art collectives and
includes specific guidelines, criteria and eligibility based upon each Public Art Initiative
identified by Cultural Services staff. A RFQ may be used to pre-qualify artists for
general or specific public art projects. When an open call public art competition results
in two equally weighted proposals, consideration will be given to the local/Canadian
submission.
• Request for Proposal (RFP) competition occurs when a select group of artists and/or
collectives are invited to submit a proposal for consideration towards a specific Public
Art initiative. The applicants must adhere to the guidelines and criteria established by
the City of Pickering.
Policy Title: Public Art Policy Page 11 of 21
Policy Number: CUL 130
• Direct Invitation/Commission or Purchase (Single/Sole-Source) occurs when a single
artist is identified to complete a Public Art project, or when and existing piece of Public
Art is purchased. In the instance of the purchase of an existing piece of art, an
appraiser or outside expert maybe called in to determine authenticity.
For large commissions in public spaces, the Public Art Committee may choose to provide
the three top-ranked Public Art Jury selections for Community comment prior to finalizing
the selection process.
08.02 Donations
On occasion, the City may be offered donated works of art in the form of a bequest or a
gift. When public art is acquired through donation, in accordance with the criteria
established in the Income Tax Act (Canada), the City of Pickering may issue a tax receipt
to the donor. The donor is responsible for meeting Government of Canada criteria to
receive an income tax credit for the artwork. Independent appraisal costs will be the
responsibility of the donor.
Donated art must follow the City's Financial Control Policy FIN-030 and be subject to an
evaluation process based on the City's donation criteria outlined below:
• information about the artwork including photographs of the artwork (if existing) or
illustrations (if proposed);
• maintenance and conservation plan, including the condition of the work and any
repairs needed;
• site installation requirements of the artwork;
• projected budget for installation and ongoing maintenance of the artwork;
• legal proof of the donor's authority to donate the work; and,
• where appropriate an appraiser or outside expert maybe called in to determine
authenticity or value.
All donations of existing artworks will be subject to a review process by Community
Services staff in collaboration with the Public Art Committee. All donations should be
unencumbered, free and clear of conditions and restriction imposed by the donors.
Donations will be evaluated against the selection criteria in 07.01 and 07.03. The City is
not required to accept donations of Public Art that are offered.
Donated art will also include a funding donation for the transfer, installation, maintenance,
conservation, restoration of the work being donated, the amount of which will be
negotiated as part of the acceptance agreement. Additionally, City staff are responsible
for conducting a feasibility analysis, which outlines aspects such as the benefits of the
acquisition, and short and long term costs.
The individuals or organizations proposing to donate artwork will be notified of the City's
decision to accept or decline the donation. If accepted, the individual and/or organization
shall acknowledge that donated art cannot be returned. Accepted donations of public art
will be documented, a release form signed by both the City and the donor, and the artwork
insured at time of acquisition. Any documents pertaining to ownership of the donation
must be transferred to the City and filed by City staff accordingly. Once accepted, the
Policy Title: Public Art Policy Page 12 of 21
Policy Number: CUL 130
donation may be stored, exhibited, loaned, deaccessioned or disposed of at the discretion
of the City.
Donation of funding from the public or private sector for the City's Public Art program will
be added to the Public Art Reserve Fund.
08.03 Transitory/Temporary Public Art
The City may secure on a temporary basis, through loan or lease, works of public art for
display in public spaces. All artworks to be displayed in public spaces will be evaluated in
accordance with the Artist Evaluation Criteria in Section 07.03 and Acquisition Criteria in
Section 08 of this Policy.
Temporary installations of artwork will be documented, and included in the City's inventory
of public art exhibitions; listing the dates of display, and a project/artist statement.
08.04 Community Art Projects
The Cultural Services Section will receive applications for community art projects; which
may include requests for funding of up to $10,000 for any individual project. The Cultural
Services Section will determine whether a community art project should proceed and/or be
funded. The goal of these community art projects is to create artwork that is accessible to
a large public, not simply because it has been placed in a public space or because of its
content, but through the engagement of community members in defining and shaping their
environment. Community Art projects must include use of amateur and/or professional
practicing artists, and gain the support of the Public Art Committee, and Cultural Advisory
Committee. Community murals and tree carvings are examples of community art projects.
08.05 Public Art Exclusions
Examples of Public Art excluded under the scope of this policy are:
i. directional elements such as super graphics, signage or colour coding, except
where these elements are an integral part of the original work of art or public art
project;
ii. art objects which are mass-produced of standard design such as playground
equipment or statuary objects;
iii. landscape architecture and landscape gardening, except where these elements are
in integral part of the original work of art, or are the result of collaboration among
design professional including at least one artist; and,
iv. easily moveable artworks such as paintings, drawings, models and .books.
09 Selection Considerations
Artwork being considered for acquisition regardless of the acquisition method should take
into account the following:
Policy Title: Public Art Policy Page 13 of 21
Policy Number: CUL 130
Community Relevance and Impact
• Suitability for display in a public space
• Reflects the City's heritage, and/or history, culture and diversity, and/or natural
elements and landscapes
• Builds appreciation for public art
Overall Quality and Authenticity
• Originality of design
• Intrigues viewers and stimulates imagination
• Artist reputation, demonstrated and related experience
• Condition of the artwork
Location
• Site suitability
• Response to or complements the-location's uses and users
Economic Value
• Short and long term costs
• Tourism potential
Installation Maintenance &Conservation
• City's ability to accommodate installation requirements
• City's ability to safely display, maintain and conserve the work
. • Long-term maintenance cost
• Longevity of the artwork
• Environmental impact
Submission
• Compliance with guidelines outline in the Public Art Policy and accompanying "Call
to Artist"
• Quality of the approach/work plan and methodology
• Ability to meet budgetary estimates and timelines.
10 Site Selection
The selection of sites for public art shall be made by City staff with staff considering
comments and or suggestions from the Public Art Committee and the Cultural Advisory
Committee, using the following criteria:
• potential visibility of public art;
• distribution of projects across the City;
• implementation potential;
• public benefit;
• geographic justification;
• quality, scale and character of the public art are suitable for the location and
audience;
• environmental conditions, site servicing and safety; and,
Policy Title: Public Art Policy Page 14 of 21
Policy Number: CUL 130
• does not interfere with existing or proposed artwork, buildings or structures in
vicinity.
Public art may be installed in the following areas, as required and as pieces become
available:
• public areas in municipally owned facilities, community centres and libraries
(interior and exterior spaces); and,
• Parks and Public Spaces. ·
For the installation of public art, the City, in consultation with the Public Art Committee,
may also identify key priority areas such as the waterfront, City Centre and transit
corridors; and/or key themes such as culture, heritage, agriculture and environment.
10.01 On Lands Owned by the City of Pickering
Installation of public art is encouraged in public spaces and parks owned by the City of
Pickering; and in public areas of City of Pickering owned office buildings, community
centres, and libraries.
Proposals for public art installations by the private sector or other public agencies on
infrastructure (e.g. roads, bridges, buildings, etc.) or land owned by the City of Pickering
that were not commissioned through the Public Art Program must adhere to the City of
Pickering Public Art Policy and all other relevant City policies, by-laws, standards, and
procedures.
Proponents of public art proposals are required to pre-consult with Community Services
staff, City Development staff and Public Art Committee; and, to present to the Council of
the City of Pickering. Proponents will also be subject to entering into a license agreement
with the City of Pickering regarding matters such as maintenance and the continued use
of public property.
10.02 On Lands Owned by Other Levels of Government and Public Agencies
10.02.1 Consultation with the City of Pickering
Public agencies that propose public art as part of a redevelopment or new
development, are required to pre-consult with Community Services staff, City
Development staff, and the Public Art Committee; and to present to the Council
of the City of Pickering.
10.02.2 On Lands Owned by the Region of Durham
Installations of public art initiated or approved by the City of Pickering on
infrastructure (e.g. roads, bridges, buildings, etc.) owned by the Region of
Durham will be subject to entering into an agreement with the Region of
Durham.
Policy Title: Public Art Policy Page 15 of 21
Policy Number: CUL 130
10.03 On Private Lands
The City actively encourages the private sector to include public art in development
projects to elevate and improve the public realm. Proponents of public art proposals are
required to pre-consult with Community Services staff, City Development staff, and the
Public Art Committee; and, to present to the Council of the City of Pickering. Direction on
options for private sector contributions to public art are provided in Section 21 of this
Policy.
11 Collections Management
11.01 The City has the authority to determine the length of time a work of public art will be
displayed in Public Spaces. The City shall consult, where possible, on the restoration or
removal of public art, but shall retain the right to restore, relocate, or archive a work of
public art without the artist's and/or donor's consent.
11.02 Accessioning/Registry/Inventory:
• The City shall document all works in the Public Art Collection and maintain a
registry/inventory of the Public Art Collection; which shall be made available to the
public.
• Temporary public art shall not be registered into the Public Art Collection and shall
not be part of the maintenance and conservation program. ·
• Temporary works will be added into the Inventory of Public Art Exhibitions.
Temporary exhibitions will be photographed and documented (artist/project
statement).
12 Maintenance & Conservation
12.01 It is the responsibility of the City to maintain all permanent works of art within the Public
Art Collection in accordance with the approved maintenance plan and/or conservation
plan required for each piece.
12.02 All public art submissions must include a detailed manual from the artist outlining the
maintenance and/or conservation plan. The plans will include, but are not be limited to: a
maintenance dossier; shop drawings; manufacturers' lists; key contacts, including the
artist; maintenance and/or conservation specifications; and, budgets.
12.03 City staff will monitor the existing inventory for maintenance requirements. The City may
choose to retain a qualified professional to undertake the inspection, if deemed necessary.
13 Insurance
13.01 All artistic works owned by the City through purchase, commission and/or donation are the
property of the City of Pickering and are insured under the City's Insurance Policy.
Policy Title: Public Art Policy Page 16 of 21
Policy Number: CUL 130
13.02 For all Borrowed Public Art, the Artist will submit proof, satisfactory to the City, of
insurance coverage for the artistic work, and a waiver freeing the City from liability in case
of accidental loss, theft, damage or vandalism. In addition, the Artist will submit a
complete list of displayed artistic work(s); which will include the title(s), dimensions,
medium/media and appraised value(s).
14 Storage
14.01 When storage of Public Art, whethe·r short-term or long-term, is required, the City will
ensure that such storage meets appropriate museum standards. Whenever possible,
existing City and community resources will be used for the storage and management of
the City's Owned Public Art.
15 Agreements & Installation
15.01 The Artist will enter into a written agreement with the City of Pickering following the
approval of the acquisition of the public art. This agreement will address the Artist's
obligations, which include, but are not limited to:
• Materials
• Time lines
• Installation
• Maintenance and/or conservation plans
• Warranty
• Copyright, Intellectual Property and Moral Rights
• Payments to sub-contractors
15.02 The Artist is generally responsible for the installation of all artworks that the City has
acquired. All contractual requirements with the Artist(s) will be overseen by the City and
identified, in advance, through the agreement of purchase, commission or donation. The
condition of all acquired art works will be reported upon receipt, and any problems found
will be referred to the artist for resolution .
.15.03 The City has the authority to determine the length of time a work of public art will be
displayed in Public Spaces. The City shall consult, where possible, on the restoration or
removal of public art, but shall retain the right to restore, relocate, or archive a work of
. public art without the a.rtist's and/or donor's consent.
16 Deaccession & Disposal
16.01 The City may deaccession and/or dispose of Public Art when necessary. All reasonable
efforts will first be made to resolve problems or re-site the Public Art, in consultation with
the Artist and/or donor, where appropriate. Public art may be deaccessioned and/or
disposed of under any of the following situations:
• endangerment of public safety;
• excessive repair or maintenance;
• irreparable damage;
Policy Title: Public Art Policy Page 17 of 21
Policy Number: CUL 130
• inaccessibility;
• site redevelopment;
• art is no longer relevant ;
• works that endanger public safety;
• possibility of upgrading through exchange;
• no appropriate location for exhibition of work;
• copies, forgery or reproductions lacking authe·nticity or archival value;
• the public art is no longer relevant to the City's Public Art Collection, or
• the public art is discovered to have been stolen, or was offered to the City for
acquisition using fraudulent means.
16.02 The City of Pickering will be responsible for preparing a report providing the justification for
recommending deaccessioning of the artwork for the Public Art Committee, to be
endorsed by the Cultural Advisory Committee and received as correspondence by
Council, as appropriate.
16.03 In the event of accidental loss, theft or vandalism, the City retains the right to determine
whether replacement or deaccessioning of the artwork is appropriate.
16.04 No artistic work will be deaccessioned and disposed of without consultation with the Public
Art Committee. Recommendations to the Public Art Committee regarding the need for a
method of deaccession will be made by Cultural Services Staff. The deaccessioned art
may be moved, sold, returned to the artist or destroyed, with any monies received through
the sale of the artwork being placed in the Public Art Reserve Fund.
17 Copyright and Intellectual Property
17 .01 Artwork acquired for the Public Art Collection shall become the property of the City of
Pickering except those artworks subject to the parameters for Temporary Public Art as
outlined in Section 08.03.
17.02 The City will respect the artist's right of authorship and the integrity of the public art.
17.03 Copyright of the artwork shall remain with the Artist unless the City has acquired the
copyright in full from the Artist or has an agreement in writing for limited usage.
17.04 Except in very rare circumstances, the Artist(s) shall own all Intellectual Property in the
work developed. Following best practice in North American Public Art Programs, they will
not be asked to waive their Artist Moral Rights or assign their copyrights. Artist(s) will be
asked to provide a royalty-free non-commercial license to the City of Pickering for images
of their work in perpetuity.
17.05 In cases where the artist is not contracted directly to the City, but is a sub-contractor (e.g ..
for integrated artworks or artist on a design team) or for developer-provision of public art,
the City shall stipulate that the contract must include terms related to intellectual property
rights, ownership, and maintenance obligations, as appropriate.
Policy Title: Public Art Policy Page 18 of 21
Policy Number: CUL 130
18 Artist Remuneration
18.01 Artists shall be fairly compensated for their time and work. Compensation shall be
determined on a case by case basis.
18.02 Artist Contract Terms -In creating standard agreements with artists, it is important to note
artist moral rights and to take into consideration practices in the arts sector, which differ
from other professional service providers or suppliers. When the City of Pickering
contracts an artist for a commission, the artist agreement will include, but not be limited to
the following:
• scope of work (may be design services only; or design, fabricate and/or install);
• City's and artist's obligations, appropriately apportioning risk and responsibility;
• timelines;
• ownership, maintenance, and conservation obligations;
• intellectual Property, Copyright, and Artist Moral Rights;
• artist recognition;
• warranty and insurance (as appropriate); and,
• payment schedule.
19 Community Engagement & Awareness
19.01 The City will be responsible for ensuring there is an opportunity for community input and
involvement in public art and expanding the level of knowledge of the City's Public Art
Collection in the community.
19.02 City staff will be responsible for ensuring the community is aware of any public art
installations or deaccessioning in public spaces. When appropriate, the community will be
asked to comment on the selection of a commissioned work or official unveilings will be
undertaken in order to allow residents to take part in celebrating new additions fo the
Public Art Collection.
20 Pickering Public Art Interactive Map
20.01 The City of Pickering shall develop and maintain an interactive online public map that
identifies the location of public art pieces and provides a photograph and information, such
as a description of the public art piece, installation date and artist name. If available, the
City will also include information from the artist including web links, artist biography, artist
statement and video footage of the artist discussing their work.
20.02 This information will also be held within the Public Art Inventory; which will be maintained
by the Community Services Department.
Policy Title: Public Art Policy Page 19 of 21
Policy Number: CUL 130
21 Public Art Development by the Private Sector
21.01 The City actively encourages private sector applicants to include public art in development
projects through the Site Plan application process. The provision of public art will be
secured through a Site Plan Control Agreement that will be registered against the title of
the lands.
21.02 Options for private sector contributions to public art are:
• On-site Contribution: This is where the applicant incorporates the public art within the
development limits. In addition to the requirements outlined in Section 10.03 of this
Policy, the design, commissioning and installation of the public art piece will be at the
sole cost of the owner, and subject to approval by the City. Ongoing maintenance,
repair or replacement of the public art piece will be at the sole cost of the owner.
• Off-site Contribution: This is where the applicant provides public art on municipal
property. In addition to the requirements outlined in Section 10.01 of this Policy, the
design, commissioning and installation of the public art piece will be at the sole cost
of the private sector proponent, and subject to approval by the City. The ongoing ·
maintenance, repair or replacement of the public art piece will be at the sole cost and
responsibility of the City.
• Partnership with business/agency.
22 Funding
22.01 Funding to support this policy will be provided through the establishment of a Public Art
Reserve Fund, as recommended in The City of Pickering Cultural Strategic Plan (2014).
22.02 Starting in 2021, it is recommended that Council provide financial support in the amount of
$100,000 to implement the Public Art Policy. In 2022, it is recommended that the financial
support increase by $25,000 for a total of $125,000. The financial contribution should be
increased by $25,000 every year until the funding model is reviewed.
22.03 The Public Art Reserve Fund will be used to cover the costs of the management,
additional insurance costs, administration and promotion of public art in the City and the
purchase, maintenance, conservation, restoration, archiving, and deaccession of the
Public Art Collection.
22.04 Up to a minimum of 75% of all funds collected must be used for the design, fabrication
installation and documentation of Public Art or Community Art projects chosen through an
objective jurying selection process.
22.05 Funds ranging up to 25% will be apportioned to the governance and administration of the
selection process, collection, inventory, staffing, legal requirements, deaccession of artistic
works, and overall policy review.
Policy Title: Public Art Policy Page 20 of 21
Policy Number: CUL 130
22.06 Any operating funding required for the ongoing operation of specific pieces of public art
must be funded from the Public Arts Reserve Fund and approved by Council on a case by
case basis.
Please refer to all associated Procedures and Standard Operating Procedures, if applicable, for
detailed processes regarding this Policy.
Policy Title: Public Art Policy Page 21 of 21
Policy Number: CUL 130
Attachment 2 to Report CS 13-23
Call to Artists:
Pickering Public Art
Location: Millpond Meadow, Pickering Museum Village
Deadline: November 7, 2022
Artist Opportunity
The City of Pickering invites artists to respond to the Call for Artists to create a
permanent outdoor public artwork to be installed at Millpond Meadow at Pickering
Museum Village.
As per the City of Pickering Public Art Policy (CUL 130) an artist is defined as the
designer/creator of an artistic work and can include, but is not limited to, a professional
artist, graphic designer, collaborative team, architect, or landscape designer.
Page |1
Page |2
The total budget for the project, including artist fees, materials, and installation is
$80,000 (plus HST).
A public art jury comprised of city staff, practicing arts professionals, and community
members will be established for this competition.
Public Art Opportunity
The City of Pickering’s Cultural Strategic Plan (2014) outlines the City’s commitment to
collaborate with the community to celebrate our cultural diversity, heritage and the arts;
to sustain our natural environment; to foster a creative economy; and to strengthen our
vibrant neighborhoods.
The artwork will be located at Millpond Meadow at Pickering Museum Village. Pickering
Museum Village is envisioned as a community hub where people come together to
learn, share stories, and build relationships through progressive, fun, and vibrant
experiences. This public art piece is intended to reflect the natural beauty and vibrancy
of the meadow and surrounding area and celebrate the history of the City of Pickering.
The project is funded supported by the Government of Canada’s Healthy Communities
Initiative and Building Communities Through Arts and Heritage, Legacy Fund.
Community Background
The Pickering Museum Village (PMV) is located in the heart of Greenwood. Nineteenth
century Greenwood was a bustling community boasting many businesses and
prominent residents. At the center of the community was the Greenwood Blacksmith
Shop. Local businesses, industries and residents relied on the dedicated tradesmen
working i n the shop to supply and repair essential tools and equipment for their homes
and businesses.
Millpond Meadow is located adjacent to Duffin’s Creek alongside the Greenwood
Conservation Area. The waterway supports a diverse ecosystem, including salmon, and
in the past was a site that supported the historic mill, that used to stand where the
“Millpond Meadow’ is now located.
For the past five years, the City of Pickering, in partnership with the Pickering Public
Library, Ontario Federation of Anglers and Hunters and Ontario Ministry of Natural
Resources, has supported a salmon hatchery at the Pickering Central Library. Library
patrons and students from local schools had the ability to observe and learn about the
Atlantic salmon and the importance of biodiver sity. The hatchery resulted in the release
of over 400 Atlantic salmon into Duffins Creek. In addition, salmon hatchlings are
released annually into Duffins Creek by the TRCA at the museum site
Budget
$80,000 CAD (maximum before HST). This is the total amount available for all related
expenses of this public art project including, but not limited to: artist fees, all applicable
taxes, detailed renderings, materials, technical consultations and approvals or other
expertise as required, fabrication, installation, insurance, equipment, travel to meetings
and to the site, and an artist statement for completed work.
The selected artist will enter into a written agreement with the City of Pickering following
the approval of the acquisition of the public art. This agreement will address the artist's
obligations, which include, but are not limited to:
• Materials
• Timelines
• Installation
• Maintenance and/or conservation plans
• Warranty
• Copyright, Intellectual Property and Moral Rights
• Payments to sub-contractors
Page |3
Stage 1: Open Call
The public art jury will review all submissions and identify a short -list based on artistic
excellence and demonstrated or perceived ability to create and execute an innovative,
engaging public artwork that is complementary to the overall design scheme and
community context.
Expression of Interest Submissions:
Artists are invited to respond to this call by submitting a single pdf document:
This pdf document must be labeled with the name of the artist and project (LastName
FirstName_ MillpondMeadow) and include:
• CV (one for each team member, if applicable)
• Brief artist statement outlining interest in project, showing relevant experience,
ability, and general artistic approach. Please include your experience and
intended approach to the community engaged process. Do not include proposals
at this stage.
• Maximum ten (10) images of work, with caption including title, materials,
dimensions, location, and commissioning body (if applicable). Audio / Video files
may be provided via URL.
• Names and contact information for two references (preferably from recent
projects).
Email submissions to: lcabral@pickering.ca
Submissions must be received by November 7, 2022 at 5pm
Late submissions will not be accepted
Stage 2: Conceptual Design
The short-listed artists will be notified in November and invited to submit a conceptual
design proposal in a PowerPoint presentation. A detailed Terms of Reference project
document will be provided to help short-listed artists prepare their proposals.
Short-listed artists will be paid a fee of $1,500.00 (+HST) for their submission of a
complete conceptual design proposal. Short-listed artists must attend an interview and
present their proposals (online presentations may be required) to the public art jury in
February 2023.
Page |4
When evaluating specific artwork proposals, the Public Art Jury will consider the vision,
mandate and objectives of the Public Art Program and the objectives listed in the Public
Art Opportunity outlined on Page 1 of this Call to Artists . The Public Art Jury (as per
section 07.02 of the City of Pickering Public Art Policy) will also consider the artist's:
• Artistic excellence of previous work;
• Ability to achieve the highest quality of contemporary artistic excellence and
innovation;
• Professional qualifications and relevant working experien ce as related to the
public art project brief;
• Ability to manage a project and experience working with a design team, project
team and/or community group, as appropriate;
• Potential to comprehend, access and interpret relevant technical requirements;
and,
• Interest in and understanding of the public art opportunity and the context.
The Public Art Jury in selecting the successful proposal will also consider the following:
Community Relevance and Impact
• Suitability for display in a public space
• Reflects the City's heritage, and/ or history, culture and diversity, and/or natural
elements and landscapes
• Builds appreciation for public art
Overall Quality and Authenticity
• Originality of design
• Intrigues viewers and stimulates imagination
• Artist reputation, demonstrated and related experience
• Condition of the artwork
Location
• Site suitability
• Response to or complements the location's uses and users
Economic Value
• Short-and long-term costs
• Tourism potential
Installation Maintenance & Conservation
Page |5
• City's ability to accommodate installation requirements
• City's ability to safely display, maintain and conserve the work
• Long-term maintenance cost
• Longevity of the artwork
• Environmental impact
Submission
• Compliance with guidelines outlined in the Public Art Policy and accompanying
"Call to Artist"
• Quality of the approach/work plan and methodology
• Ability to meet budgetary estimates and timelines.
Project Considerations:
The artwork must adhere to the following design parameters:
• Be an exterior sculptural installation, suitable for exhibition in a public space;
• Be appropriate for the site in scale, execution, materials and creativity;
• Be fabricated using high quality, long-lasting materials; and
• Not pose a risk to public safety.
The selected artist will be required to submit drawings certified by a structural engineer
licensed to operate in Ontario, at their own expense.
Timeline:
Call for submissions opens: September 30, 2022
Call for submissions closes: November 7, 2022
Public Art Jury meets: November, 2022
Notification of shortlist artists: January, 2023
Presentations: February, 2023
Production: May-October, 2023
Installation: October/November, 2023
Recommendations made by the Public Art Jury will be endorsed by the CAC. Final
award of the project will be done through a council report in April 2023.
Page |6
Contact Information:
Lucas Cabral
Coordinator, Public Art
City of Pickering
lcabral@pickering.ca
Page |7
Attachment 3 to Report CS 13-23
On the Backs of Fish
Schematic Proposal for Millpond Meadow Phase 2
PREPARED FOR PREPARED BY CONTACT
City of Pickering Bluff Studio Sarah - sarah@sarahefuller.com Attn: Lucas Cabral Sarah Fuller & Sean Procyk Sean - seanprocyk@gmail.com
Coordinator, Public Art
TABLE OF CONTENTS
TA
B
L
E
O
F
C
O
N
T
E
N
T
S
PROJECT PROPOSAL 03
CONCEPT RENDERS & DESIGN DETAILS 06
MATERIALS 09
BUDGET 10
COLLABORATORS & SUPPLIERS 11
CONSERVATION & MAINTENANCE 12
WHO WE ARE 13
APPENDIX 1: PRELIMINARY TECHNICAL DRAWINGS 15
APPENDIX 2: MATERIAL DATA SHEET & BROCHURE 20
PROJECT PROPOSAL
1.
Project Proposal
ARTIST STATEMENT &
PROPOSAL CONCEPT
PROJECT PROPOSAL
Project Origins: Connection to
Place
The genisis of this
project grew out of an
interest in submerged
narratives, interspecies
relationships and
notions of community
stewardship.
In researching the Millpond Meadow site, one of
the frst things that jumped out at our team was the
Atlantic Salmon re-introduction project and the salmon
hatchlings that are released annually into Duffns Creek
at the museum site. Both Sean and Sarah are familiar
with the story of the Atlantic Salmon in Lake Ontario,
encouraging us to dig deeper while developing this public art
proposal. We wanted to highlight the historical presence of
the salmon within the current conservation framework.
Preliminary research involved learning about the history
of the site through archival information and a virtual
walkthrough of the Museum Village with Lucas Cabral. We
followed up with more dedicated research into the Atlantic
Salmon’s life cycle, the work of community groups to re -
introduce the species as well as the history of stocking
Chinook and Coho salmon in the region.
As an organism that lives underwater, the absence of a fsh
species may not be as immediately evident in the landscape
as something like a clearcut forest, however its absence has
a profound effect on the broader ecosystem.
The intention of On the Backs of Fish is to tangibly reveal
the salmon in the meadow adjacent to Duffns Creek while
also offering a sculptural environment in which to discuss
and learn about the species and its re-emergence in the
ecosystem.
ARTIST STATEMENT & PROPOSAL CONCEPT
Artist Statement &
Proposal Concept
It is said that at one time, the fsh were
so plentiful a person could walk across
their backs during spawning season. (1)
The Lake Ontario watershed forms an important habitat
for a variety of aquatic species including Blanding’s
Turtles, Red-Sided Dace, Brook Silverside Fish and more
recently, re-introduced Atlantic Salmon. Atlantic Salmon
once thrived in Lake Ontario and were an important
food source for First Nations.
In 1812 John McCuaig, Superintendent of Fisheries of
Upper Canada, said that Atlantic Salmon “swarmed the
rivers so thickly that they were thrown out with a shovel
and even with the hand.” (2) However, this abundance
was quickly depleted. With the arrival of Europeans,
subsequent overfshing, and increased agriculture, the
species disappeared and by 1898, the “last confrmed
fsh [was] caught off the Scarborough shoreline. (3)
Recently, these fsh have been reintroduced into Duffns
Creek and other tributaries by the Ontario Federation
of Anglers and Hunters (OFAH) and the Ontario Ministry
of Natural Resources and Forestry (MNRF). The salmon
hatchery at Pickering Central Library and the release
site at Pickering Museum Village directly tie into the
broader vision of the Atlantic Salmon’s story and the
community’s investment in ecosystem protection and
repair.
On the Backs of Fish is an interactive sculpture that
forms a connection between landscape, community and
ecology. The work would be made using a proprietary
Glass Fibre Reinforced Concrete (GFRC) material
called Cloudcrete. Formal elements of the work take
inspiration from a run of salmon swimming upstream,
with the fsh forms emerging from Millpond Meadow,
mimicking the movement of the fsh as they navigate the
current. The installation speaks to the important place
salmon have in the Lake Ontario watershed ecosystem.
The larger than life school of fsh will be installed in
the feld behind the current amphitheater, adjacent to
Duffns Creek. The intention is that On the Backs of Fish
will form a bridge between the learning space of the
museum and the watershed itself - an interactive work
that encourages play and an embodied understanding
of how the fsh travel through the landscape.
(1) Maria Papoulias interview with Simon Benedict and Zoë
Lepiano, January 11, 2017.Primary research conducted as part
of the Illuminations: Human/ Nature project.
(2)“Salmon in Toronto and GTA Waters” https://trca.ca/
conservation/aquatic-habitat-toronto/projects/salmon-in-toronto-
and-gta-waters/ Accessed February 10, 2023.
(3).Ibid.
CONCEPT SKETCHES & DESIGN DETAILS
2.
Concept Renders &
Design Details
ARTWORK
7 CONCEPT RENDERS & DESIGN DETAILS
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Design Considerations
• INTEGRATION WITH THE LANDSCAPE
• ENCOURAGE INTERACTION
• VISUAL IMPACT FROM A DISTANCE
• INSPIRED BY NATURE
• VISUAL IMPACT DOES NOT DISTRACT TAKE AWAY FROM THE SURROUNDING SITE
• LINEAR CLUSTER OF SALMON-INSPIRED FORMS
MATERIALS
3.
Materials
Precast Cloudcrete
Cloudcrete is a versatile, lightweight
concrete solution, developed in digital
space and intended for both exterior
and interior applications.
Cloudcrete is a thin-wall, durable, cementitious building material that is tailored for designs
that are looking to achieve complex, organic shapes. Its performance in an interactive
outdoor installation installed at grade is superb.
Cloudcrete is more durable than traditional concrete, it uses less cement binder and
multiple forms can be cast from a single mould, which makes it a more sustainable material
for outdoor public works. Components can be easily integrated into multi-material design
schemes with fully engineered connection details and proven material testing data for our
proprietary mix design.
See Appendix 2 for Material Data Sheet & Brochure.
BUDGET
4.
Budget
Our current budget is based on maximizing the art experience at Millpond Meadow. This real-time budget will be a cornerstone,
should we progress to design developing for this project. We have analyzed preliminary engineering, quantities, construction
costs, and solicited pricing from multilple suppliers to ensure we have a comprehensive picture of budget and associated risks.
With the general concept, aesthetic, functionality and layout worked out, we have plenty of room to fne-tune project specifc
elements as project stakeholders see ft. As we work through design development in close collaboration with the City of
Pickering and Pickering Museum Village, we can provide expedient feedback on budget and design to best inform decision
making. Our team has extensive experience managing large, custom projects and our process is set up to be simple and
enjoyable.
On the Backs of Fish - Budget
Item Description Total area (sq/ft) GFRC Cost per sq/ft Cost per unit Quanitity SUM
1 Form 1 90.00 $ 55.00 $ 4,950.00 2 $ 9,900.00
2 Form 2 70.00 $ 55.00 $ 3,850.00 2 $ 7,700.00
3 Form 3 97.00 $ 55.00 $ 5,335.00 2 $ 10,670.00
4 Form 4 86.00 $ 55.00 $ 4,730.00 2 $ 9,460.00
5 Metal Fins $ 800.00 8 $ 6,400.00
6 Engineering $ 2,500.00 1 $ 2,500.00
7 Delivery $ 8,000.00 1 $ 8,000.00
8 Crating $ 1,997.00 1 $ 1,997.00
9 Installation $ 8,100.00 1 $ 8,100.00
10 Artist fees $ 4,000.00 2 $ 8,000.00
Subtotal $ 72,727.00
Continengy (10%) $ 7,272.70
Total $ 79,999.70
COLLABORATORS & SUPPLIERS
5. Collaborators
& Suppliers
Design Development
Bluff Studio will collaborate cloesly with the City of Pickering and Pickering Museum Village teams to develop
aesthetic, material and installation details. We will produce the variations of forms for the artwork using 3D
modeling software and will output maquettes for review. Once the forms are approved we will transition to
detail design and engineering.
Engineer
SMP Engineering will provide structural review and professional seal for our artwork. We have worked with
them on a handful of installations in the past. They specialize in developing installation details that minimize
impact on surrounding landscape, while also ensuring structural integrity.
Manufacturing
The Cloudcrete forms will be manufactured by HEAVY Industries, who have 25 years of experience applying
this material in public art, landscape and archtiectural projects. Custom work is their niche and they are well
set up to produce these unique elements effciently
Shipping
Shipping will be coordinated by Straitlink, whom we have worked with in the past to move projects across
North American and to the United Kingdom.
Installation
Installation will be done in collaboration with Allcare Construction. Their yard is located about 20 minutes
from Pickering Museum Village. As a longtime collaborator of ours, we often work with them to fnd ways to
install projects in the most cost-effective way possible. This could even involve them simply dropping off their
equipment for us to operate ourselves, which we have done in the past.
MAINTENANCE
6. Conservation &
Maintenance plan
STRUCTURES
Cloudcrete structures requires little to no maintenance after installation. They should be visually inspected after
the frst freeze/thaw cycle to ensure there are no manufacturer defects visible, such as relief cracks or surface
corrosion.
PATINA
Cloudcrete is available in four standard color mixes. Overtime the color of the Cloudcrete will gently fade with
exposure to UV and wear from public use. This will enhance the unique characteristics of each form and they will
take on a more natural aesthetic, similar to that of stone. The patina of the sculpture will depend on the original
color mix.
LANDSCAPING
Grass or limestone granular are the two options for treatment of the grounds surrounding the structures. This
decision can be discuss with project stakeholders. Please note we have budgeted for grass as a surrounding
landscape, but we are open to a granular base if that is preferred by the site maintenance team.
Grass surrounding the forms can either be cut or left long. If the plan is to cut the grass, we can develop a layout
with appropriate spacing between the forms for cutting and trimming equipment.
A granular base will require little to no maintenance. It will affect the overall visual impression of the work within
the landscape.
VANDALISM
The owner / operator should coordinate, at minimum, an annual visual inspection of the structures for vandalism.
Anti-graffti coating will be applied to each form, so they can be cleaned easily.
CONSERVANCY PLAN
Should any maintenance concerns arise, they should be photo documented and sent to Bluff Studio to determine
if action is required. It is important that maintenance concerns be addressed as soon as possible to mitigate more
severe issues. Please report any maintenance concerns within 30 days of discovery.
WARRANTY
2 Year Limited Warranty on any components mechanically fastened.
1 Year Limited Warranty on any manufacturer defects, such as visible cracks or surface corrosion.
WHO WE ARE
7.
Who we are
Bluff Studio has over 10 years of experience
conceptualizing, managing and executing innovative
site-responsive public art works. Our mandate is
to cultivate vibrant, engaging and equitable public
projects that foster healthy communities and
strengthen the urban fabric.
The core of our creative practice focuses on engaging
with local communities to generate site-responsive
artworks. As artists, we have a strong belief in creating
environmentally sensitive works that can help
illuminate ecosystems and non-human inhabitants.
OUR COMBINED
EXPERIENCE
Sean Procyk and Sarah Fuller formed their collaborative
relationship in the Banff, AB between 2011 and 2014.
During this time the two developed a conceptual
approach to art making informed by concerns for
sustainability, the ecological balance between
human and the natural environment, as well as
community engagement. They both have a history of
creating artworks in the Pickering area and have a
deep appreciation for the region’s forest and water
ecosystems.
SARAH FULLER
Sarah Fuller has a long history working in site-
responsive artworks with a research-based
methodology. She has spent her professional career
managing the photography studio at the Banff Centre,
and creating site - specifc installation works in the
Yukon, Banff and the GTA.
Sarah is particularly interested in the Pickering
ecosystem from her previous work on the Canada
150 Project titled “Illuminations: Human/Nature”.
Commissioned by Banff Centre for Arts and Creativity,
the project was made in collaboration with Moment
Factory (Montreal, QC) and presented in two distinct
sites in Banff National Park and Rouge Urban National
Park.
As lead artist on the $2.5 million project, she was
responsible for weaving together a multiplicity
of narratives gleaned from each site. One of the
narratives illuminated at the Rouge Park site was the
story of the Atlantic Salmon re-introduction to Lake
Ontario.
Responsible for:
• Concept generation / development
• Site research including archival research
• Installation
• Documentation Photography
SEAN PROCYK
For nearly 12 years, Sean has been immersed in the
design and fabrication of highly unique art, landscape
and playground construction projects. He spent his early
professional career managing sculpture studios at OCAD
University and The Banff Centre. Collaboration, project
planning and hands-on fabrication experience were the
main take aways during this time.
Since 2015 Sean has been a central fgure in North
America’s growing nature play industry. His designs
have been installed across Canada and the United
States, some of which he’s had the privilege to fabricate
and install himself. He has also found himself in the
fortunate position to have contributed to the rapid
growth of nature playground companies like Earthscape
and Rockyview. Working for these two companies
has given him perspective on contrasting operational
processes for playground design-build.
Responsible for:
• Concept generation / development
• Sourcing of off-the-shelf elements
• Construction and installation of non-structural
elements
• CPSI review and coordination of 3rd party
inspections
Thank you.
8.
APPENDIX 1:
PRELIMINARY TECHNICAL
DRAWINGS
42
.
2
10
7
3
267.9
6805 BFFS
BASE PERIMETER OF CLOUDCRETE
FORM TO BE BUILT UP IN THICKNESS
(APPROX. 4" X 2")
19 x 600 REBAR TO RESIST
SHIFTING FROM LATERAL
DYNAMIC LOADING
1" THK SS FINS
43
.
5
11
0
6
264.4
6715
43.8
1112
CLOUDCRETE SURFACE TO BE
TEXTURED FOR TRACTION
1
9
MI
N
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T
H
K
TY
P
DETAIL B
SCALE 1 : 10
HOLLOW CLOUDCRETE FORM
All dimensions in [inches] mm•
All exposed edges to have a chamfer of minimum•
3mm radius
Cloudcrete surface to be textured to ensure•
traction
SS fins to be 316 (A4)•
Front View
Side View
Top View
Isometric View
PROPOSED SURFACE FINISH
Date: 2023-02-12 Rev: -
Dwg No:
Dwg Name: Form1
Paper Size: A3
FOR PRICING PURPOSES ONLY
1
9
MI
N
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T
H
K
TY
P
37
93
8
203
5144
6
A
1" THK SS FIN
FFS
19 x 600 REBAR TO RESIST
SHIFTING FROM LATERAL
DYNAMIC LOADING
BASE PERIMETER OF CLOUDCRETE
FORM TO BE BUILT UP IN THICKNESS
(APPROX. 4" X 2")
42
10
6
4
199
5053
47
1200
CLOUDCRETE SURFACE TO BE
TEXTURED FOR TRACTION
PROPOSED SURFACE FINISH
DETAIL A
SCALE 1 : 10
HOLLOW CLOUDCRETE FORM
All dimensions in [inches] mm
All exposed edges to have a chamfer of minimum•
3mm radius
Cloudcrete surface to be textured to ensure•
traction
SS fins to be 316 (A4)•
Front View
Side View
Top View
Date: 2023-02-12 Rev: -
Dwg No:
Dwg Name: Form2
Paper Size: A3
FOR PRICING PURPOSES ONLY
44
.
1
11
2
1
263.7
6697
C
1" THK SS FINS
261.0
6629
49
.
1
12
4
8
42
.
9
10
9
0
45.3
1151
CLOUDCRETE SURFACE TO BE
TEXTURED FOR TRACTION
1
9
MI
N
.
T
H
K
TY
P
DETAIL C
SCALE 1 : 10
HOLLOW CLOUDCRETE FORM
All dimensions in [inches] mm•
All exposed edges to have a chamfer of minimum•
3mm radius
Cloudcrete surface to be textured to ensure•
traction
SS fins to be 316 (A4)•
Front View Side View
Top View
Isometric View
PROPOSED SURFACE FINISH
BASE PERIMETER OF CLOUDCRETE
FORM TO BE BUILT UP IN THICKNESS
(APPROX. 4" X 2")
19 x 600 REBAR TO RESIST
SHIFTING FROM LATERAL
DYNAMIC LOADING
FFS
Date: 2023-02-12 Rev: -
Dwg No:
Dwg Name: Form3
Paper Size: A3
FOR PRICING PURPOSES ONLY
262.0
6656
39
.
8
10
1
0
D
1" THK SS FINS
261.9
6652
43
.
4
11
0
1
45.1
1145
CLOUDCRETE SURFACE TO BE
TEXTURED FOR TRACTION
1
9
MI
N
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T
H
K
TY
P
DETAIL D
SCALE 1 : 10
HOLLOW CLOUDCRETE FORM
All dimensions in [inches] mm•
All exposed edges to have a chamfer of minimum•
3mm radius
Cloudcrete surface to be textured to ensure•
traction
SS fins to be 316 (A4)•
Front View Side View
Top View
Isometric View
PROPOSED SURFACE FINISH
19 x 600 REBAR TO RESIST
SHIFTING FROM LATERAL
DYNAMIC LOADING
BASE PERIMETER OF CLOUDCRETE
FORM TO BE BUILT UP IN THICKNESS
(APPROX. 4" X 2")
FFS
Date: 2023-02-12 Rev: -
Dwg No:
Dwg Name: Form4
Paper Size: A3
FOR PRICING PURPOSES ONLY
9.
APPENDIX 2:
MATERIAL DATA SHEET &
BROCHURE
PRODUCT DATA SHEET
Overview
Cloudcrete is a multipurpose pre-cast concrete
product that utilizes a mixture of Portland cement
and alkali-resistant glass fbre to produce a
lightweight, fexible and durable material that can
be used across a number applications. For its weight
it has a very high density and low coeffcient of
expansion. The glass fbre matrix provides increased
fexibility and the ability to be spray cast into a
variety of shapes, assembled with multiple materials.
GENERAL OPTIONS
Finish color options 4 standard colors & custom
color matching
Surface fnish options Smooth or etched
Sealant options Acrylic, Silane or graffti
sealant
Casting options Wet cast or spray molded
PHYSICAL & MECHANICAL PROPERTIES
Thickness 3/4" (typ)
Glass Fiber Content 4% min.
Dry Density (kg/m3) 2075
Compressive Strength
(Mpa)
50-55
Flexural Strength (Mpa) 20-25
Tensile Strength (Mpa) >13
WEIGHT
.75” 7.2 lbs / ft2
1” 9lbs / ft2
1.25” 11.25 lbs/ft2
1.5” 14.06 lbs/ft2
Thermal Properties
Cloudcrete meets ATSM EB4 International standards
with 0% fame spread and smoke development,
making it a safe alternative to other casted
materials that meet the same structural or aesthetic
requirements. NFPA 259 criteria for potential heat of
combustion of 878.8 BTU/lb.
THERMAL PROPERTIES
Thermal Conductivity
(BTU/in/hr/ft2/°F)
3.5 - 7.0
Flame spread classifcation Class 1
Coeffcient of Thermal
Expansion (in/in/°F)
12x10^-6
FIRE ENDURANCE
Flame spread index 0
Smoke Development 0
ATSM E136 requirements
met “GFRC made of
cement, glass fbers,
sand and water is non-
combustible and meets
the requirements of ASTM
E136. When used as a
surface material, its fame
spread index is zero.”
Reference: pg 15 PCI 4th
edition GFRC manual.
Confrmed
Samples
Heavy maintains an inventory of Cloudcrete samples
in several fnishes, color and texture combinations.
We can also match an array of fnishes, color or
textures based on your project requirements.
Let’s talk about your next project! Contact us:
EMAIL: info@heavyexperience.com
PHONE: 403.252.6603
Heavy
9192 52 Street SE
Calgary, Alberta, Canada
T2C 5A9
What sets Cloudcrete apart?
Leverage unprecedented creative freedom
without the risk and cost.
Cloudcrete is a versatile, lightweight
concrete solution, developed in digital space
and intended for both exterior and interior
applications. It is tailored for designers looking
to achieve complex, organic shapes via a durable,
controlled concrete building material. Whether
designing interactive landscapes, architectural
elements, or unique art works, Cloudcrete can
provide the solution.
Leveraging digital 3D modeling and physical
prototyping during the consultation and
optimization phase ensures the color, fnish,
texture, geometry and overall approach meets
the design intent. Cloudcrete components can
be easily integrated into multi-material design
schemes with fully engineered connection
details and proven material testing data for our
proprietary mix design.
Whether your project requires one unique piece,
or many incorporated into a greater whole,
Cloudcrete can be adapted to meet any volume
requirements. Cloudcrete is more than concrete;
it is a versatile resource in your material palette
providing the design freedom to take big risks with
the certainty of a tried and tested product.
Cloudcrete is the next step in the evolution of concrete. It is a
versatile tool at the disposal of designers looking to accomplish
innovative geometric forms.
Cloudcrete is meticulously applied via a
spray into open-faced molds to create
the wildest forms, while ensuring the
highest level of fit and finish
Cloudcrete is meticulously applied via a
spray into open-faced molds to create
the wildest forms, while ensuring the
highest level of fit and finish
How does Cloudcrete come
to life?
At it’s most basic level, Cloudcrete is a sprayed,
mold-formed, shell-like concrete product. It consists
of a curated mix of concrete, alkali resistant chopped
glass strand, water, sand, and polymer. Our engineer
approved and tested Cloudcrete mixture allows for
glass fbre strands to take the place of the rebar used
in typical in concrete products.
In order to achieve the best result, each casting
surface is prepped with a non-invasive mould release
agent. Once prepped, the facecoat concrete mixture
can be applied via spray. The thin facecoat does
not contain strengthening fbres in order for the
exposed surface to achieve the desired aesthetic.
After the facecoat has had time to partially cure,
there is a window in which the remaining 1/2” - 1”
thick layer of concrete and chopped glass fbre
mixture can be applied while forming a strong
bond with the initial facecoat. This thin materiality,
relative to pre-cast concrete, is where Cloudcrete
shines as an alternative. Embeded knifeplates or
ferrule connections are then cast in to allow easy
connection to external framework.
Why Cloudcrete?
Cloudcrete has been developed by
the Heavy team based on our knowledge
and real-world experience planning
and building innovative and boundary-
defying projects.
With a combined 25+ years of
experience working with Cloudcrete, we
have honed our craft to the point where
we now have an undeniably effective
and customizable product. This is
backed up with proven engineering
data and standard colours and fnishes,
making it easy to specify for an
unlimited variety of complex, ambitious
applications.
When combined with Heavy’s PLAN—
BUILD™ process and digital parametric
design, the full potential of Cloudcrete
can be unlocked, enabling designers,
architects and visionaries to create
unprecedented geometric forms with
certainty and effciency.
The possibilities are endless, and we
look forward to working with you to
bring your vision into reality.
Find out how Heavy’s Cloudcrete can help
turn your placemaking vision into reality by
visiting www.heavyexperience.com
001 — Charcoal 002 — Cloud White
003 — Portland 004 — Stone Grey Custom colours, fnishes and textures available
Attachment 4 to Report CS 13-23
Letter of Understanding
Public Artwork Agreement
This agreement made the Day/Month/Year
BETWEEN: Bluff Studios
(hereinafter called “the Artist”)
AND
THE CORPORATION OF THE CITY OF PICKERING
(hereinafter called “the City)
1. Introduction
This Letter of Understanding pertains to the artwork creation and installation of the artwork for the
Millpond Meadow public sculpture opportunity for the City of Pickering. This document defines the
relationship and responsibilities between the City and the Artist. The final artwork is to be unveiled
December 2023.
This Letter of Understanding conforms to the City of Pickering Public Art Policy (CUL 010) and the
City of Pickering Standard Quotation Terms & Conditions.
2. Background
The Millpond Meadow public art project is operated and administered by the City.
The City issued a call to artists for Expressions of Interest dated October 7, 2022, with respect to the
Millpond Meadow public sculpture project. Applications were due November 7, 2022.
This was a two-stage competition. Stage One: Applicants were reviewed based on the merit of the
artist’s past work, professional qualifications and experience. Stage Two: Short-listed artists
developed their artwork conceptual design based on detailed artwork specifications.
The public art concepts were selected by a specially convened independent Public Art Jury, made up
of visual arts professionals, community representatives, and City staff.
Following a review of submissions by the Public Art Jury in response to the call for Expressions of
Interest the City invited a short list of Artists/Artist teams to submit a Conceptual Design based on the
conditions outlined in the Terms of Reference for the Millpond Meadow dated October 7, 2022, (the
“Terms of Reference”), a copy of which is attached as Schedule “A” to this Agreement.
The Artist submitted a proposal dated February 24, 2023 (“the Proposal”), a copy of which is attached
as Schedule “B” to this Agreement.
The Artist has been selected by the City to create, manufacture and install or deliver to the site, as
required for the different components, the Artwork titled “On the Backs of Fish” in accordance with the
Conceptual Design, the Terms of Reference and the terms and conditions of this Agreement.
This public art piece is intended to reflect the ecology of the site and history of our community through
a sculptural installation.
Letter of Understanding
Public Artwork Agreement
3. Definitions
Artwork -The “Artwork” means the final piece of artwork developed from the design, model, and
specifications provided by the Artist and approved by the City, which Artwork is more particularly
specified in Schedule “B” attached hereto.
The Work -The “Work” means designing, producing and fabricating the Artwork as well as delivering
and installing it at the Place of Installation.
Place of Installation -The “Place of Installation” is Millpond Meadow, located at Pickering Museum
Village, more specifically located as shown on the attached drawing Schedule “C” attached hereto.
4. Artist Fee: Compensation and Payment Schedule
a) The all-inclusive price to be paid by the City for the Artwork, completed and installed shall be
$80,000 CAD, inclusive of all applicable federal and provincial taxes including HST.
b) Each stage of the payment shall be accompanied by a detailed summary of work completed
by the Artist that including updated drawings and images that states that the Work has
progressed and is proceeding according to schedule D and will be installed by the Delivery
Date (as defined below).
c) HST shall be enumerated as a separate item on each staged and scheduled payment
pursuant to this Article.
Payment shall be structured in a payment schedule to the Artist as follows:
i) $27,000 at the end of Phase 2 which includes execution of the agreement by all parties,
preliminary drawings of all components and connections, preliminary fabrication schedule
and pricing and submission of an invoice from the Artist;
ii) $27,000 at the end of Phase 4 which includes final detail design, shop drawings for
production, pricing, engineer review, and shipping and installation plan subject to the
approval of the City and upon submission of an invoice; and
iii) $26,000 at the end of Phase 6, within one month after satisfactory installation of the finished
Artwork, in its final location, delivery of conservation and maintenance plan, photographic
documentation, Artist Statement and Biography subject to approval by the City and upon
submission of an invoice from the Artist.
The City agrees:
a)to pay the Artist all funds due and as provided for herein.
5.Payments of Sub-Contractors
The Artist agrees:
Letter of Understanding
Public Artwork Agreement
a)to ensure that payments will be made to all suppliers and subcontractors that may be engaged
by the Artist in regard to the design, fabrication, storage, delivery and installation of the
Artwork. At the City’s request, the Artist shall provide evidence of such payment.
6. Performance
The Artist agrees:
a) to provide all work and materials necessary to create the Artwork and to fulfill all its obligations
as set out in this Agreement;
b) that the materials, methods and processes used to produce the Artwork shall be of first-class
quality and expressive of the approved design as detailed in Schedule “B” attached hereto;
and
c) to use first class skills, diligence and workmanship as are normally found in the artistic
profession, and ensure that all materials incorporated into the Artwork are of the utmost quality
and design in accordance with Schedule “B”.
7. Timelines and Completion of Deliverables The
Artist agrees:
a) to complete the installation of the Artwork to the satisfaction of the City no later than December
1, 2023 (“the Delivery Date”) or such later date as may be agreed upon by the Artist and the
City in writing. The installation will include a maintenance/conservation plan submitted by the
Artist;
b) during the design and production of the Artwork, to keep the City advised of the status of the
production of the Artwork. If required by the City, the Artist shall allow representatives of the
City to view the Artwork during its various stages of production or provide progress
photographs;
c) to submit a progress report and invoice, with supporting receipts and invoices from
subcontractors, in the form specified by the City, prior to each payment date set out in
Schedule “D”.
d) to provide a conservation and maintenance plan; and
e) to provide to the City photographs of the Artwork during and after installation in accordance
with Schedule “D”.
The City agrees:
a)to ensure that should the Artist require direction in any regard to the design, fabrication or
installation of the Artwork, the City shall provide such direction in a prompt and timely fashion.
Letter of Understanding
Public Artwork Agreement
8.Detailed Design
The Artist agrees:
a)To evaluate all material and data relevant to the Artwork as provided by the City and shall
facilitate production of the final design, working with the Cultural Services Unit and [other City
departments and design team members, as needed] and, in order to finalize the detailed
design and the exact location of the Artwork within the Installation Site, to the satisfaction of
the City.
9. Specifications
The Artist agrees:
a) to provide detailed drawings and specifications to the satisfaction of the City and shall advise
the City, in writing, through the Coordinator, Public Art, of all factors relating to the Artwork’s
theme, budget, critical path, location, size, materials, structural, mechanical and technological
requirements, installation methods, and future maintenance requirements, to be determined by
the Artist in consultation with the Coordinator, Public Art; and
b) Substantive changes to the Artwork may be undertaken by the Artist only upon receipt of prior
written authorization by the Manager, Cultural Services provided however, that the City’s
objection to any feature of the Artwork which is reasonably attributable to the exercise of the
Artist’s aesthetic judgement during the progress of the development of the Artwork shall not be
considered a substantive change and shall not be a basis for withholding acceptance or
payment for the Artwork.
10.Permits and Engineers Stamp
The Artist agrees:
a)to obtain at the Artist's sole cost and expense, all permits necessary for the delivery and
installation of the Artwork and prepare all materials, documents, reports, plans and drawings,
required in order to obtain any Structural Engineers' stamps required in connection with the
manufacture and installation of the Artwork at the Installation Site.
11.Delivery, Installation and Protective Measures
The Artist agrees:
a) to be solely responsible for all costs and supervision of the actual fabrication, production and
installation of the Artwork including the cost of any site preparations or safety precautions that
are required for the installation of the Artwork in its final location unless otherwise specified by
the City. If protection during installation is required, then the Artist is to provide it;
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Public Artwork Agreement
b) to deliver the Artwork to the specific site as set out in Place of Installation, free from all defects
and in compliance with the specifications as outlined in Schedule “B” attached hereto;
c) The Artist shall coordinate the installation of the Artwork with the Coordinator, Public Art and
permit such inspections of the installation as the City may require. If any costs result from the
Artist failing to coordinate the Artist's work with that of [City divisions and contractors], all such
costs shall be borne by the Artist;
d) upon installation of the Artwork, to clean the Artwork to ensure that all dirt, imperfections and
extraneous materials are removed from the Artwork; and
e) that installation shall have been deemed to be complete when acceptance by the City or by its
designated agent.
The City agrees:
a)to provide, at its expense, a permanent marker in keeping with the quality and type of the
Artwork which will identify the name of the Artist, the name of the Artwork and the year of the
Artwork.
12.Damage to Artwork and Artist’s Property
The Artist agrees:
a) that in the event of physical loss or damage to the Artwork prior to completion of installation
and acceptance of the Artwork by the City, the Artist shall immediately take all necessary steps
to rectify the loss or damage by repair, restoration, replacement or other appropriate means as
soon as is reasonably possible at no additional expense to the City. Where necessary, the
Artist may collect insurance proceeds before rectifying the loss or damage and shall rectify the
loss or damage as soon as is reasonably possible after receipt of said funds; and
b) to be responsible for any loss or damage whatsoever to any of the Artist's materials, goods,
equipment or supplies and will maintain all-risk coverage as required by this Agreement and as
any prudent owner of such materials, goods, supplies and equipment would maintain. The
Artist shall have no claim against the City or the City’s insurers for any damage or loss to the
Artist's property and shall require his insurers to waive any right of subrogation against the
City.
The City agrees:
a) that following acceptance of the Artwork, the City will use its best efforts to maintain and repair
any damage done to the Artwork by vandalism or other means substantially in accordance with
the conservation and maintenance plan to be provided by the Artist. The City will make
reasonable efforts to inform the Artist of such damage and to offer the Artist the opportunity to
consult with the City on the proposed repairs.
13.Warranty, Repair and Maintenance
The Artist agrees:
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Public Artwork Agreement
a) that upon receipt of the Artwork, should the City find any deficiencies in the Artwork, it will
advise the Artist in writing and the Artist must rectify such deficiency within ten (10) days of
receipt of such notice. Should it not be possible to complete rectifying the deficiencies within
ten (10) days, the Artist shall provide a Schedule to the City that is acceptable to the City
indicating when completion will occur;
b) in the event that the Artwork shall require repairs subsequent to the date of completion arising
from normal weathering and “wear and tear”; then in such event the City shall advise the Artist
in writing as to the nature of such repair and offer the Artist first right of refusal to carry out
such repair within times and consideration as mutually agreed upon by the City and the Artist.
Should the Artist fail to advise the City within thirty (30) days of receipt by the Artist of the
written offer, or should the Artist and the City fail to agree on times and consideration, then in
any such event the City, or a third party hired by the City, shall be at liberty to carry out any
and all repairs. In determining the time and consideration for such repairs, both parties agree
to act reasonably; and
c) notwithstanding the foregoing and with the exclusion of the maintenance criteria set out in the
conservation and maintenance plan submitted by the Artist, during the first three (3) years after
installation and acceptance by the City, the Artist agrees to repair any defects or deficiencies
(normal weathering and “wear and tear” excepted) in the Artwork without any charge to the
City.
The City agrees:
a)to keep the Artwork in a clean condition, free of debris or banners or signage which defaces the
Artwork, all to the level which the City considers to be appropriate and in accordance with the
conservation and maintenance plan to be approved by the City and that will be provided by the
Artist.
14.Removal and Relocation of Artwork
The City agrees:
a) to endeavor to exhibit the Artwork in the original location and in its original and complete
format subject to the City’s right to decommission or remove the Artwork or a particular piece
thereof for reasons which may include, but are not limited to, the structural integrity of the
Artwork, expiry of the expected lifespan of the Artwork, extensive or irreparable damage or
vandalism or by reason of the necessity to accommodate the effective operation of the
Esplanade Park; and
b) to consult, where possible, on the restoration or removal of public art, but shall retain the right
to restore, relocate, or archive a work of public art without the artist's and/or donor's consent.
15.Insurance
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Public Artwork Agreement
The Artist agrees:
a)that upon request by the City, the Artist shall take out and keep in force a policy of liability
insurance in the amount of $2,000,000 inclusive each occurrence (or such larger amount as
may be required), and not less than two million ($2,000,000.00) automotive liability insurance
coverage. Certificate(s) of insurance shall be provided upon request by the City.
i. The policy shall include The Corporation of the City of Pickering, as additional named
insured without subrogation in respect of all operations performed by or on behalf of the
Company, a certificate of insurance shall be completed by the Company’s agent, broker
or insurer.
ii. The policy shall not be altered, cancelled or allowed to expire or lapse, without thirty
(30)days prior written notice to the City.
iii. If the City is not provided with a renewal of the policy at least thirty (30) days prior to its
expiration date, then the City may arrange a public liability policy insuring the City in the
amount of $2,000,000.00 and an automotive liability policy insuring the City in the
amount of two million ($2,000,000) at the expense of the Company, which may be
recovered from amounts owed to the Company or from any form of security still in the
City's possession.
16.Indemnification
The Artist agrees:
a) to indemnify and hold harmless the City, its Mayor and Councillors, employees and agents for
any and all losses, claims, demands, suits, actions, judgments, or costs which may arise from
any physical deficiencies or deformities or structural failures of the Work which render the
Artwork inconsistent with the approved design. The Artist agrees that this indemnity shall
survive the period of time required to fulfill this contract and extend to the useful life of the
Artwork and shall be binding upon the Artists’ personal representatives, administrators,
executors and assigns;
b) to indemnify the City, its Mayor and Councillors, employees and agents from and against all
liens, all builders liens, claims, actions, costs and damages which may arise during installation
of the Work on the Place of Installation. No finding of negligence, whether joint or several, as
against the City in favour of any third party shall operate to relieve or shall be deemed to
relieve the Artist in any manner from any liability to the City, whether such liability arises under
this Agreement or otherwise; and
c) to warrant that the Artwork is original to the Artist and does not violate any copyright of any
other person. The Artist shall indemnify and hold harmless the City, its Mayor and Councillors,
employees and agents for any and all losses, claims, demands, suits, actions, judgements or
costs that may arise from the allegation that the Artwork is not original to the Artist.
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Public Artwork Agreement
17.Occupational Health and Safety Act
The Artist agrees:
a) to conform to and enforce strict compliance with the requirements of the Occupational Health
and Safety Act, R.S.O., 1990 c.0.1 and all regulations thereunder, as amended from time to
time (collectively the "OHSA").;
b) that nothing in this Agreement shall be construed as making the City the "employer" (as
defined in the OHSA) of any workers employed or engaged by the Artist either instead of or
jointly with the Artist; and
c) that it will ensure that all subcontractors engaged by it are qualified to perform the services and
that the employees of the Artist and of all subcontractors are trained in the health and safety
hazards expected to be encountered in the Services.
18.Workplace Safety & Insurance
The Artist agrees:
a) that all of the Company’s personnel must be covered by the Workplace Safety & Insurance
Board at the Company’s expense. The Company shall provide the City with a Clearance
Certificate from the Workplace Safety & Insurance Board prior to the commencement of work,
certifying that all assessments and liabilities payable to the Board have been paid, and that the
bidder is in good standing with the Board;
b) to provide the City with a Clearance Certificate prior to final payment certifying all payments by
the Company to the Board in conjunction with the subject Contract have been made and that
the City will not be liable to the Board for future payments in connection with the Company’s
completion of the project; and
c) that a Company deemed to be an Independent Operator by the Workplace Safety & Insurance
Board will provide a copy of such letter to the City containing the Independent Operator
identification number issued by the Board. An Independent Operator must be covered by
WSIB optional insurance and provide proof of this coverage upon request.
19.Delays
The Artist and the City agree that:
a)neither party shall be responsible for any failure to comply with or for any delay in performance
of the terms of this Agreement including but not limited to delays in delivery, where such failure
or delay is directly or indirectly caused by or results from events of force majeure beyond the
control of the party sought to be charged. These events shall include, but not be limited to fire,
earthquake, accident, civil disturbances, war, rationing, allocation of embargoes, strikes or
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Public Artwork Agreement
labour problems or delays in transportation, inability to secure necessary materials, parts or
components, delay or failure of performance of any supplier or subcontractor, acts of Nature or
acts of Government.
20.Early Termination
The Artist and the City agree that:
a) notwithstanding any other provision of this Agreement, the City may, at any time and without
cause, prior to completion of the Artwork, terminate this Agreement by providing sixty (60)
days' notice in writing to the Artist. In the event of such termination, the City shall not incur any
liability to the Artist other than work completed to the date of termination in accordance with the
payment schedule and reimburse the Artist for the demonstrable, reasonable actual costs to
the Artist incurred in connection with the Artwork, to the date of termination, as well as any
demonstrable, reasonable outstanding liability owed by the Artist to the Artist's contractors,
subcontractors, or employees incurred in connection with such termination;
b) failure of the Artist to perform its obligations under the Agreement shall entitle the City to
terminate the Agreement upon ten (10) calendar days’ written notice to the Artist if a breach
which is remediable is not rectified by the Artist to the City's satisfaction and within the
timeframe set out in the City's notice of breach. In the event of such termination, the City shall
not incur any liability to the Artist other than work completed to the date of termination in
accordance with the payment schedule and reimburse the Artist for the demonstrable,
reasonable actual costs to the Artist incurred in connection with the Artwork, to the date of
termination, as well as any demonstrable, reasonable outstanding liability owed by the Artist to
the Artist's contractors, subcontractors, or employees incurred in connection with such
termination;
c) all rights and remedies of the City for any breach of the Artist's obligations under the
Agreement shall be cumulative and not exclusive or mutually exclusive alternatives and may
be exercised singularly, jointly or in combination and shall not be deemed to be in exclusion of
any other rights or remedies available to the City under the Agreement or otherwise at law;
d) no delay or omission by the City in exercising any right or remedy shall operate as a waiver of
them or of any other right or remedy, and no single or partial exercise of a right or remedy shall
preclude any other or further exercise of them or the exercise of any other right or remedy; and
e) upon termination, all work and material of the Artist pertaining to the Artwork shall be delivered
to or retained by the City at no further cost or liability to the City.
21.Ownership
The Artist and the City agree:
a)ownership of the Artwork, the model/maquette and all documentation supplied to the City in
connection with the Artwork, will vest in the City upon final payment for same.
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Public Artwork Agreement
22.Copyright
The Artist and the City agree that:
a)copyright in the Artwork shall remain with the Artist.
The Artist agrees:
a) to hereby grant the sole, perpetual and royalty free license to exhibit the Artwork in public and
to use photographs, drawings, film, video, and other mechanical reproductions of the Artwork
throughout the world to the City for publicity purposes only.
b) to authorize the City to use the Artist’s name in connection with the Artwork and in the
promotion and advertising of the City.
c) not to replicate the Artwork for any other client or purchaser.
d) to use best efforts to give credit to the City as the owner of the Artwork.
The City agrees:
a)to use its best efforts to have the Artist’s name associated with the Artwork in photographs,
drawings or other reproductions of the Artwork except where the Artwork is not the primary
subject of the said reproduction.
23.Death or Incapacity of Artist
The Artist and the City agree that:
a)in the event of a death or incapacity of the Artist before the complete installation of the Artwork,
the City shall be vested with title to the unfinished Artwork upon paying the Artist, their
personal representatives, administrators, executors or executrix a sum in the direct proportion
of the percent of the Artwork completed to that date as determined by the City and shall be
permitted to complete the Artwork in a manner generally consistent with the original design of
the Artist.
24.Mediation
The Artist and the City agree:
a) that all disputes pertaining to the interpretation or implementation of this Agreement shall be
resolved first by good faith negotiation between the parties. In the event that a dispute cannot
be resolved by negotiation between the parties, the parties agree to use the services of a
mediator to attempt to resolve their differences and failing agreement on the procedure to be
followed, it shall be conducted in accordance with the “Rules of Procedure for the Conduct of
Mediation” of the ADR Institute of Ontario. In the event that the mediation does not result in a
settlement of the dispute, any unresolved issues may be taken to any other appropriate
dispute resolution process agreed to by the parties, including arbitration or an appropriate
court process. Should arbitration be chosen, it will be conducted in accordance with the “Rules
of Procedures for the Conduct of Arbitration” of the ADR Institute of Ontario pursuant to the
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Public Artwork Agreement
Arbitrations Act; and
b) any claim or action brought pursuant to this Agreement shall only be brought in the courts of
the Province of Ontario.
This Agreement forms the entire agreement between parties and no other representations either oral
or written shall form part of this Agreement.
The rights and remedies of the City under this Agreement are cumulative and in addition to any rights
and remedies provided by law or equity.
To the City at:
The City of Pickering
One the Esplanade
Pickering, Ontario
The City’s Representative for the purpose of this Agreement will
be Laura Gibbs lgibbs@pickering.ca
To the Artist at:
511 Clinton Street, Toronto, ON, M6G 2Z5
brad@studiofminus.com
https://www.studiofminus.com
Or to such other address or person as the parties may designate to each other in writing.
It is deemed that notice is received five (5) days after the mailing of any notice or upon delivery, if
personally delivered.
____________ _______________
_____________ _______________
_____________ _____ _______________
Letter of Understanding
Public Artwork Agreement
IN WITNESS WHEREOF the parties hereto have had this Letter of Understanding executed.
Date Full name, artist
Kevin Ashe, Mayor Date
City of Pickering
Susan Cassel, City Clerk Date
City of Pickering
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Public Artwork Agreement
Schedule A: Terms of Reference
Schedule B: The Artwork (Artist’s Concept proposal document attached)
Schedule C: Place of Installation (Millpond Meadow
Schedule D: Detailed Fabrication Schedule
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Public Artwork Agreement
Detailed Fabrication Schedule
WORK PLAN
The completion dates for each phase of the project as set out below shall be finalized upon final
determination of the construction commencement date and prior to commencement of the Phase 2
services.
Phase 1 – June 1, 2023
• Agreement signed by all parties
• Proof of insurance and WSIB provided to the satisfaction of the City
Phase 2 -To be completed by July 7, 2023, to the satisfaction of the City
This phase will include the following Client approvals:
• Preliminary Drawings of all components and connections
• Preliminary fabrication schedule and Pricing
Phase 3 -To be completed by August 18, 2023 to the satisfaction of the City
• Final design and pricing
• Preliminary engineer review
This phase will include the following Client approvals:
• Design drawings, including all components and connections.
Phase 4 -To be completed by September 15, 2023 to the satisfaction of the City
• Completion of detail design.
This phase will include:
• Final sign-off of shop drawings for production
• Shipping & installation plan completed, in cooperation with the artist and other relevant
contractors, and to the satisfaction of the City.
Phase 5 -To be completed by October 28, 2023 to the satisfaction of the City.
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Public Artwork Agreement
• Complete off-site fabrication of Artwork and all its components, to the satisfaction of the City.
All permits and approvals acquired.
Phase 6 – To be completed by December 1, 2023 to the satisfaction of the City.
• Complete on-site installation of the Artwork and all its components, to the satisfaction of the
City.
• Delivery of maintenance manual, including Photographic documentation, Artist statement,
Biography
• Final acceptance of Artwork to the satisfaction of the City.