Loading...
The URL can be used to link to this page
Your browser does not support the video tag.
Home
My WebLink
About
June 20, 2023
For information related to accessibility requirements please contact : Committee Coordinator T: 905.420.4611 Email: clerks@pickering.ca Agenda Cultural Advisory Committee June 20, 2023 7:00 pm Main Committee Meeting Room/Hybrid Members of the public may observe the meeting proceedings by accessing the livestream. 1.Welcome and Call to Order J. St. Amant 2.Review and Approval of Agenda and Previous Minutes J. St. Amant 3.Disclosure of Interest J. St. Amant 4.Delegations 5.General Business 5.1 PMV Report 5.2 Community Banner Series Shortlist – Top 5 Artists -For Endorsement 5.3 Whitevale Arts and Culture Centre Community Public Art -For Endorsement 5.4 Update: Waterfront Public Art – Consultation Services 5.5 Winter Nights, City Lights 2023 – Temporary Public Art -For Endorsement 5.6 Cultural Fusion Festival - Review E. Tayles- Armstrong J. St. Amant J. St. Amant S. Barakov S. Barakov K. Roberts 6.Correspondence J. St. Amant 7.Other Business 7.1 Community Tourism Plan Public Survey -letstalkpickering.ca/ctp J. St. Amant J. St. Amant 8.Next Meeting – June 20, 2023 J. St. Amant 9.Adjournment Page 1 of 6 Minutes/Meeting Summary Cultural Advisory Committee May 16, 2023 Main Committee Room 7:00 pm Attendees: S. Almeida-Schroen, Cultural Advisory Committee Member R. Coelho, Cultural Advisory Committee Member D. Davis, Cultural Advisory Committee Member J. Elliott, Cultural Advisory Committee Member Z. Kazi, Cultural Advisory Committee Member M. McFarland, Cultural Advisory Committee Member A. Palmer, Cultural Advisory Committee Member D. Thompson, Cultural Advisory Committee Member M. Nagy, City Councillor, Ward 2 L. Gibbs, Division Head, Culture and Community Programming K. Roberts, (Acting) Supervisor, Cultural Services J. St. Amant, Coordinator, Cultural Services (Staff Liaison) A. Gallagher, (Acting) Conservator S. Barakov, Coordinator, Public Art R. Perera, Deputy Clerk A. MacGillivray, Committee Coordinator D. Roopchand, Clerk, Culture and Recreation (Recording Secretar y) Absent: A. Mujeeb, Cultural Advisory Committee Member R. Wali, Cultural Advisory Committee Member Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) 1. Welcome & Call to Order J. St. Amant welcomed members and called the meeting to order. 2. Review and Approval of Agenda and Previous Minutes The committee reviewed the agenda. J. St. Amant noted General Business item 5.10 will not be reviewed at today’s meeting. J. St. Amant asked if there were any changes to be made to the agenda or previous minutes. None were raised. Moved by M. McFarland. To approve the agenda and previous minutes. Carried - 1 - Page 2 of 6 Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) 3. Disclosure of Interest No disclosures of interest were noted. 4. Delegations There were no delegations for this meeting. 5. General Business 5.1 Committee/Taskforce presentation – Changes to the ADM 040 Policy A. MacGillivray presented the changes to the ADM 040 Policy, including that the committee work plan cannot be presented to Council later than the May meeting. He discussed the stakeholder member and stake holder organization positions. He spoke about the duties and appointment and positions of Chair and Vice Chair, and the process of selecting a Chair and Vice Chair. A. MacGillivray also discussed absenteeism, quorum, events/media/communications, and subcommittees for the committee. R. Perera reviewed the new Municipal Freedom of Information and Protection of Privacy section and the new Lobbyist Registry. 5.2 Appointment of Chair and Vice Chair J. St. Amant led the group for the appointment of the Chair and Vice Chair for the Cultural Advisory Committee. M. McFarland nominated D. Thompson for the Chair of the Cultural Advisory Committee. She accepted the nomination, and she was unanimously selected as the Chair for the Cultural Advisory Committee. Carried D. Thompson nominated R. Coelho, as the Vice Chair for the Committee. A. Palmer nominated M. McFarland for the Vice Chair, as well. Both nominees declined to stand for the position of Vice Chair. J. Elliott nominated S. Almedia-Schroen to be nominated for Vice Chair. She accepted the nomination, and she - 2 - Page 3 of 6 Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) was unanimously selected as the Vice Chair for the Cultural Advisory Committee. Carried 5.3 PMV – Miller-Cole House A. Gallagher spoke about the development of the new permanent exhibit in the Miller -Cole House, which will explore the concepts of Ontario’s land stewardship from multiple cultural perspectives. The Museum is seeking the endorsement for the exhibit concepts and community consultations. 5.4 West Shore Skate Spot Community Mural – Artist Ranking Selection S. Barakov presented the artist rankings for the West Shore Skate Spot Community Mural. Fatspatrol and Mural Routes led the ranking with a total score of 551.5, followed by Enna Kim and Jieun Kim with 502.5, and finally Jacob Headley with 458.5, out of a possible 600 points. Moved by M. McFarland. To endorse the ranking of the artists for the West Shore Skate Spot Community Mural, and Fatspatrol and Mural Routes as the winners of this project. Carried 5.5 Millennium Square – Light-based Sculpture for Winter Wonderland S. Barakov presented the Call to Artists, and subsequent selected artist, Studio Jordan Shaw’s proposal for a temporary light-based artwork in Millennium Square, for the Winter Wonderland event. Moved by A. Palmer. To endorse Studio Jordan Shaw as the artist selected for the project in Millennium Square. Carried A. Gallagher to send the survey link to D. Roopchand to send it out to the Committee with the Minutes. - 3 - Page 4 of 6 Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) 5.6 Rotary Frenchman’s Bay West Park – Direct Commission of Indigenous Sculpture S. Barakov discussed the project at Rotary Frenchman’s Bay West Park (RFBWP). SpruceLab Inc. was selected for this direct commission. According to the collective, the installation is inspired by the principle of respect and Dkibi is a story about water, which has played a critical role in the natural and cultural histories of the Pickering area. Moved by M. McFarland. To endorse the selection of SpruceLab Inc. as the artist for the direct commission of Indigenous sculpture at Rotary Frenchman’s Bay West Park. Carried 5.7 Seat Fire Hall – Electrical Box Wrap S. Barakov reviewed the electrical box wrap at the Seaton Fire Hall, and spoke about why Jason Das was shortlisted to execute the artwork. Jason has created three options for the site, which have been shared with Elexicon, Community Services staff, and the Fire Chief, and based on feedback, only one design was selected. This work be unveiled at the June 11 Fire Hall opening, along the One Horse Power piece. Moved by J. Elliott. To endorse Jason Das and his proposal for the Seaton Fire Hall Transformer Wrap. Carried 5.8 2022 Annual Report for Culture & Community Programming L. Gibbs reviewed the annual report with the Committee. She reviewed the 26 events that the department ran last year. She spoke about the 43 Public Art pieces we installed last year, throughout the City. L. Gibbs spoke - 4 - Page 5 of 6 Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) about the Pickering Museum Village and the achievements that took place over the last year at the Museum, as well as the Pickering Heritage and Community Centre. L. Gibbs also spoke to the Recreation Services, which is part of our department. She also discussed our tourism initiatives that took place in 2022. 5.9 Community Tourism Plan J. St. Amant discussed the Community Tourism Plan with the Committee. The goal of this plan is to highlight the unique attractions that make Pickering a popular place to visit. This plan is facilitated by Central Counties Tourism. J. St. Amant asked the committee if any of the committee members wanted to sit on the Community Tourism Steering Committee. The meeting dates would be May 24, June 21, Sept 6, and October 4, in the Main Committee Room. M. McFarland said he would like to join the committee. J. Elliott said she would like to but will need to confirm with the Executive Director of Central Counties Tourism, in order to ensure there is no conflict of interest. 6. Correspondence There was no Correspondence for this meeting. 7. Other Business S. Barakov invited the members of the committee to the Public Art Open House, which will take place on May 25 from 6:30 – 8:00 pm, in O’Brien Meeting Room A at the Chestnut Hill Developments Recreation Complex. J. St. Amant said that he has sent the invite for the Fire Hall opening on June 11, which will include the unveiling of One Horse Power. He also mentioned that he had previously sent the invite for the unveiling of the Reflections piece at Esplanade Park on May 27, at 11 am. This event is also the same day as our Artfest event, D. Roopchand to send the Eventbrite link. - 5 - Page 6 of 6 Item/ Ref # Details, Discussion & Conclusion (summary of discussion) Action Items/Status (include deadline as appropriate) which will run from 11 am – 5 pm, with artist vendors, live entertainment, and live interactive performances. 8. Next Meeting The next Cultural Advisory Committee meeting will take place on Tuesday, June 20, 2023, from 7:00 – 9:00 pm. 9. Adjournment Moved by J. Elliott. That the May 16, 2023 meeting of the Cultural Advisory Committee be adjourned. Carried Meeting Adjourned: 8:39 pm - 6 - Memo To: Cultural Advisory Committee June 13, 2023 From: Jesse St. Amant Coordinator, Cultural Services Copy: Acting Supervisor, Cultural Services Acting Curator Division Head, Culture and Community Programming Director, Community Services Subject: Update: Community Banner Series - For Endorsement File: S-1000-013 Public Art Background: The Community Banner Series will build on the success of the original Community Banner Program that has received and archived artwork from a range of artists and artistic practices since 2018. Each year, these banners have contributed to color ful, vibrant, and City proud civic spaces in the City Centre. The Community Banner Series, call for “Expression Of Interest” invited artists starting on May 1, 2023, to identify their intent to design street banners, that will animate and transform the street scape into welcoming and engaging spaces. In stage 1, artists were asked to include a resume/CV, references, brief artist statement outlining interest in project, showing relevant experience, ability, and gener al artistic approach, and a maximum of 10 images of past work. Design proposals were not included at this stage. The City invited artists to respond to this call by May 26, 2023 and received 44 applications for stage 1. A Public Art Committee comprised of members with experience as practicing arts professionals, and community members with significant knowledge of arts and culture was established for this competition. The Public Art Committee reviewed the 44 submissions the week of June 5, 2023 and have identified a top 5 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. Next Steps: The top 5 short-list selected artists as determined by the Public Art Committee will be invited to participate in stage 2. The short-listed artists will be notified on June 21, 2023 and invited to - 7 - June 13, 2023 Page 2 of 2 Community Banner Series submit a conceptual design proposal for the series of seven (7) banners. A detailed terms of reference project document will be provided to help short -listed artists prepare their final proposals. Short-listed artists will be paid a fee of $1,000.00 (+HST) for their submission of the completed banner design series by August 4, 2023. The top 3 artists selected at the end of stage 2 by the Public Art Committee will have their designs fabricated and installed on Kingston Road, and Valley Farm Road in December 2023. These banners will be on display for 2 years. Decisions of the Public Art Committee are reviewed by the Cultural Advisory Committee and are final, pending approval of the Director, Community Services as per the Community Banner Policy CUL 140. Discussion: Community Services is requesting that the Cultural Advisory Committee endorse the Top 5 Artist Short List for the Community Banner Series moving onto stage 2 as selected by the Public Art Committee. Those artist include: Aisha Chiguichon, Oliviana Cinco, Ryan Smeeton, Talie Shalmon, Yen Linh Thai . /jsa Attachment Chiguichon Aisha_Community Banner Series 2023 CincoOliviana_ Community Banner Series Smeeton Ryan_Community Banner Series Shalmon Talie_ Community Banner Series Thai YenLinh_Community Banner Series - 8 - City of Pickering C O M M U N I T Y B A N N E R S E R I E S 2 0 2 3 A I S H A C H I G U I C H O N - 9 - Artist CV EDUCATION: Certificate of Art and Design Studio Skills, OCAD, 2013 PMBOK Project Management Training, 2009 B.A.Sc. Industrial Engineering, 1998 ART-RELATED WORK EXPERIENCE: Rogers Durham TV Oshawa – “Women on the Rise” Season 1,2 Set design mural – 2016 City of Pickering – “Pickering Piano Project” Public Playable art piece – 2016 Freelance Artist / Art Consultant Private Art Teacher – Introductory skills 2 - 10 - Artist Statement My name is Aisha Chiguichon and I am thrilled for the opportunity to design an expressive banner art series for the City of Pickering. I have always marveled at the lovely banners as I drive through Pickering and was excited to see this call. The City of Pickering has gained the reputation for being a hub for art talent and the artist community in the Durham Region. Pickering’s residents and environment are beautiful and diverse and I would love the opportunity to express that in art form. I had experience with similar sized community engagement projects as this one – in particular the Pickering Piano Art Project in 2021. My experience as a process engineering project consultant – my other hat – lends me the experience of collaboration with clients and delivering to a schedule. I believe my special coupling of skills as a visual artist and project manager, will make me well suited for this scope of project. Using the themes of this call, I would approach the work by reflecting images and colours that are reminiscent of the city, its residents, diverse cultural history and natural landmarks. In the selections of the subject, I will consult with the community and leverage the City’s Arts Committee to ensure that each resident can connect to the artwork. I would be thrilled to be selected to submit a design proposal and be ultimately chosen for this design project. Thank you, Aisha Chiguichon Owner, Artist - Capture the Soul Creations 3 - 11 - P R E S E N T A T I O N T I T L E - 12 - C O M M I S S I O N E D W O R K 5 Title: Women on the Rise Medium: Acrylic on Board Size: 2ft x 6ft (4 panels) Location: Oshawa, ON Client: Rogers Durham TV 2016 Title: Pickering Piano Project Medium: Acrylic on wood Size: Full piano Location: Pickering, ON Client: City of Pickering 2021 - 13 - W O R K S I N P R I V A T E C O L L E C T I O N S 6 Title: Crystalized Tulips Medium: Acrylic on Canvas Size: 12” x 24” Location / Client: Private Collection Title: Screaming to be heard Medium: Acrylic on Canvas Size: 18” x 24” Location / Client: Private Collection Title: Culturama Medium: Acrylic on Canvas Size: 7” x 9” Location / Client: Private Collection Title: Cork Potpourri Medium: Acrylic on Canvas Size: 12” x 12” Location / Client: Private Collection Title: I AM Medium: Acrylic on Canvas Size: 11” x 14” Location / Client: Private Collection - 14 - Jesse St. Amant – City of Pickering -Cultural Services Coordinator 905.420.4660 EXT.3607 |1.866.683.2760 Jstamant@pickering.Ca Dena Chiarcossi – Rogers Communications Dena.Chiarcossi@rci.Rogers.Com 1.416.523.5477 Esther Forde – Cultural Expressions Art Gallery culturalexpressions@sympatico.ca 1.905.706.9905 References - 15 - Thank you FOR YOUR CONSIDERATION - 16 - Expressions of Interest: 2023 Community Banner Series, City of Pickering Oliviana Cinco - 17 - CURRICULUM VITAE Oliviana Cinco © 2023 EDUCATION University of Windsor Bachelor of Arts - Visual Arts and Communication, Media and Film (2019) SOLO EXHIBITIONS “A Space Between”, SoCA Gallery, Windsor, Canada (2018) GROUP EXHIBITIONS / FEATURED ARTWORK “Invitation au Voyage” A.I.R Vallauris, Vallauris, France (2022) “A Union Summer” TD Union Summer Market, Toronto, Canada (2022) “RBC Emerging Artist Spotlight” ArtworxTO, Toronto, Canada (2022) “Transform” Community Art Banner, Pickering, Canada (2021) “Harmony” Community Art Banner, Pickering, Canada (2020) “Introspection” Scarborough Arts AJE, Cedar Ridge Creative Center, Scarborough, Canada (2019) SETS, CURATION & PROJECT DEVELOPMENT “Thinking 'Bout Love” Wild Rivers ft. Wrabel, Toronto, Canada (2022) “Bad Place” Tyra Jutai, Toronto, Canada (2022) “Diapause” Being Scene, Workmans Arts, CAMH, Toronto, Canada (2022) “Harvest”, Jordan Sook Studios, Toronto Media Arts Centre, Canada (2021) “Bloom Room Series”, OYA Media Group, Toronto, Canada (2021) “Thank You For Keeping Us On Track” Nia Centre for the Arts, Union Station, Toronto, Canada (2021) “Snoop Dogg Uncorked”, 19 Crimes, Toronto, Canada (2021) “ViBE Latino” Frisaca, Toronto, Canada (2019) AWARDS & CERTIFICATES Create Space Public Art Forum Certificate - STEPS Public Art (2023) Emerging Artist Youth Award of Excellence - Scarborough Arts (2019) - 18 - ARTIST STATEMENT I am thrilled to express my interest in the 2023 Community Banner Series for the city of Pickering. As a Pickering resident for the last 7 years, I have come to appreciate the quality of life that comes from such a tight knit community. I was part of the 2020 and 2021 Pickering Banner Program where I showcased works surrounding the landscape and fauna that inhabits the city. Having explored its unique characteristics, I am excited to express Pickering's multifaceted identity by highlighting more of the natural beauty and technological advancements that define it. I have a passion for capturing the essence of urban landscapes and the intricate relationship between nature and technology, and I believe my artistic vision aligns perfectly with the dynamic and vibrant spirit of Pickering. Through this series of work, my goal is to showcase the architectural landmarks, the diverse wildlife of Rouge Park, and the vibrant community life of Pickering. My artistic approach emphasizes the use of vibrant colors, bold compositions, and intricate details to bring the subject matter to life. I aim to create artworks that not only engage the viewer visually but also evoke a sense of curiosity and wonder. Over the last two years, I successfully completed various digital art commissions showcasing my ability to adapt to different project requirements while maintaining my artistic integrity. In 2022, I was commissioned to create a large-scale mural for Toronto’s Union Station as part of their Union Summer Market activation. Following this, I worked with Kim Graham and Associates Agency to create their digital Christmas Card inspired by the 1964 Rudolph the Red Nosed-Reindeer. I am confident in my ability to deliver a visually captivating and meaningful series that captures the essence of Pickering and can be appreciated by all members of the community. REFERENCES Jordan Sook Director, Jordan Sook Studios Inc. contactjordansook@gmail.com (705) 500-1548 Stephanie Joseph-Flatts Youth & Young Adult Client Marketing, RBC s.josephflatts@gmail.com (647) 290-7833 - 19 - “A Union Summer”, 2022 40’x8’, Acrylic on wood panels Summer Market, Union Station, Toronto “KG&A Digital Christmas Card”, 2022 12.5”x16”, Digital Composite Drawing Kim Graham and Associates, Toronto - 20 - “Recycle”, 2022 2160px x 1620px, Digital Drawing “Untitled”, 2023 36”x26” Digital Drawing - 21 - “Anatomy Of A City”, 2023 2160px x 1620px, Digital Drawing STEPS Public Art Forum, Burlington Concept “Untitled”, 2022 2160px x 1620px, Digital Drawing - 22 - 2023 Community Banner Series Expression of Interest Ryan Smeeton 196 General Avenue Ottawa, ON Canada, K1Z 7W8 (613) 620-3712 ryansmeeton@gmail.com @ryansmeeton (Instagram) www.ryansmeeton.com - 23 - Ryan Smeeton 2023 Community Banner Series 2 Letter of Intent It is more important now than ever to bring light and positivity into public space. This has always been a main goal of mine through my work – to infuse space with colour, vibrancy, and positivity. I am an artist based in Ottawa, Ontario. I primarily create beautiful, engaging, and vibrant murals, transforming blank walls into inspiring landmarks. I've been creating large-scale murals professionally since 2015. I choose to create work within the public sphere because, for me, it is a constant exploration of new techniques and scale, and inevitably results in work that is more accessible to the general public. I strive to create artworks that not only enhance public space, but also reflect the community by incorporating local context, typically through the interweaving of subtle symbolism and narrative. I also maintain a studio painting practice that informs my public artworks. I have a wide range of influences, and my personal style is ever changing and growing. I am equally interested in painting photorealistic subject matter as creating completely abstract pieces that are more of an investigation into colour and shape. In my mural works, I often strive to unite these two worlds, creating a synergy between figuration and abstract design. I have created large-scale murals for clients such as uOttawa, Carleton University, the City of Ottawa, City of Toronto, as well as various BIAs (in both Ottawa and Toronto). In 2000, I completed a series of underpass murals for StART in Leslieville, totalling over 6,000 square feet. I am interested in the City of Pickering community banner series project because it is a chance to create a unique and engaging body of work, so close to my home town. As someone born and raised in Ajax, I spent much of my younger years in Pickering. It would be an honour to contribute to the ever-evolving, vibrant and colourful visual identity of the city. I am also interested in the opportunity to bring my work to a new format. I am an ideal candidate for this project because of my ambition, skill, professionalism, and vast experience creating public artworks. I have independently managed projects with budgets of up to $70,000 from conception to completion, and operate fully as a self-employed freelance artist. I also have experience creating digital works for print. Most importantly, I am flexible and adaptive, and enthusiastic about taking on new creative challenges. - 24 - Ryan Smeeton 2023 Community Banner Series 3 Curriculum Vitae PUBLIC ART 2023 Serve, Honour, Remember, Digital printed mural for BMO, Ottawa, ON Corso Italia, Mural for the Preston St BIA, Ottawa, ON 2022 Real Food, Real Choice, Murals for Carleton University, Ottawa, ON Our Nature, Community mural for the Blackburn Hamlet Community Association, Ottawa, ON 2021 Nature Flows Through Us, Mural on panels for the Montfort Health and Wellness Sector, Ottawa, ON Sunset in Centretown, Mural for LIV/CLV Properties, Ottawa, ON Take Me Higher, Mural for the Kerr Village BIA, Oakville, ON A World of Colour, Community mural for the Blackburn Hamlet Community Association, Ottawa, ON Shape Takes Flight, Mural for Menkes/Fiera Aerocentre, Toronto, ON 2020 Microcosm, 2D Installation for the City of Ottawa, Ottawa, ON East End Bridges to Art, Series of Murals for the City of Toronto, Toronto, ON 2019 100 Years of Building Community, Mural for PIPSC, Ottawa, ON A Place to Grow, Mural for the University of Ottawa, Ottawa ON Community Makes Us, Mural for Notre Dame High School, Ottawa, ON Pass it On, Mural for St. Peter High School, Orléans, ON Untitled, Mural for Best Western Plus Downtown Suites, Ottawa, ON Looking Forward, Mural for St. Nicholas Adult High School, Ottawa, ON 2018 Together We Grow, Mural for the York Eglinton BIA, Toronto, ON Untitled, Mural for the Manotick BIA, Ottawa, ON Untitled, Mural for the Wellington West BIA, Ottawa, ON What Makes Us, Mural for Immaculata High School, Ottawa, ON 2017 Untitled, Mural for Carleton University, Ottawa, ON Untitled, Mural for St. Nicholas Adult High School, Ottawa, ON Respect!, Mural for the Banff Avenue Community House, Ottawa, ON - 25 - Ryan Smeeton 2023 Community Banner Series 4 Untitled, Mural for the Glebe BIA, Ottawa, ON Untitled, Mural for GarGar Festival, Penelles, Spain 2016 More than a Waterway: Celebrating the Significance of the Rideau Canal, Mural for the City of Ottawa Underpass Program, Ottawa, ON Untitled, Mural for the Bellevue Community Centre, Ottawa, ON How Does Science Inspire?, Mural for the Canada Science and Technology Museum, Ottawa, ON 2015 Untitled, Mural for Global Street Art Walls Project, London, England Untitled, Mural for La Postiza Residency Program, La Cueva, Spain 2013 En Plein Air, Mural for Nuit Blanche Ottawa-Gatineau, Ottawa, ON Untitled, Mural for NXNE Art, The Cameron House, Toronto, ON SELECTED EXHIBITIONS 2015 This Is Us Now, Trinity Gallery & Karsh-Masson Gallery, Ottawa, ON From Something To Nothing (Solo Exhibition), Platform Gallery and Studios, Ottawa, ON 2014 4x4 & a little more, Hashtag Gallery, Toronto, ON #goodthingsottawa, The Studio Café, Ottawa, ON 125 Years of the Arts, Paradigm[e] Gallery, University of Ottawa, Ottawa, ON 2013 Objects and Things (Solo Exhibition), Platform Gallery and Studios, Ottawa, ON NXNE Art Fair, Ryerson University, Toronto, ON 2012 SKETCH, SAW Gallery, Ottawa, ON 2011 Flux: Graduate Exhibition, University of Ottawa, Ottawa, ON 2010 Fresh Paint / New Construction, Art Mûr, Montreal, QC Vertigo, Gallery 115, Ottawa, ON EDUCATION 2011 Bachelor of Fine Arts, University of Ottawa, Ottawa, ON RESIDENCIES & GRANTS 2017 City of Ottawa Individual Creation and Production Fund 2015 Transmutation, La Postiza Artist Centre, La Cueva, Spain - 26 - Ryan Smeeton 2023 Community Banner Series 5 Portfolio Mural for LIV Apartments, Ottawa. 2021 - 27 - Ryan Smeeton 2023 Community Banner Series 6 Mural for StART (detail), Toronto. 2020 Mural for Nectar Flowers, Ottawa. 2020 - 28 - Ryan Smeeton 2023 Community Banner Series 7 Mural for private client, Cantley, Quebec. 2021 Mural for private client, Toronto. 2021 - 29 - Ryan Smeeton 2023 Community Banner Series 8 Mural for Carleton University. 2022 Mural for Sweet Basil, Ottawa. 2020 - 30 - Ryan Smeeton 2023 Community Banner Series 9 Mural for PIPSC National Offices, Ottawa. 2019 Mural for Best Western, Ottawa. 2019 - 31 - Ryan Smeeton 2023 Community Banner Series 10 Mural for private client, Ottawa. 2021 - 32 - Ryan Smeeton 2023 Community Banner Series 11 References Philip Capobianco Principal, St. Matthew HS philip.capobianco@ocsb.ca (613) 837-3161 Maureen Forsythe Youth Director, Blackburn Community Association maureen@blackburnhamlet.ca (613) 875-7613 - 33 - TALIE SHALMON (647) 767-4706 / talie.shalmon@gmail.com PUBLIC INSTALLATIONS 2022 “Window Wonderland”, 4 window mural activations, Queen Street East, Riverside neighbourhood, Toronto 2022 “Welcome to the Village”, Street Banner, Church Wellesley Village, Toronto 2022 “Fish of Lake Ontario”, Community Banner Program, Pickering 2020 “Pickering City Hall”, Community Banner Program, Pickering 2013, 2012 Untitled Installation, Arboretum Music and Arts Festival, Ottawa 2006 “Pigeon Alley”, Out of Site, Union Gallery, Queen’s University, Kingston MURALS 2022 “City of the Future”, digital mural, 378 Bloor St. West, Toronto 2022 “Summer Joy”, created with Toronto Community Housing Seniors’ Residence, 4455 Bathurst St., North York 2022 “Community Love”, created with Bob Rumball Canadian Centre of Excellence for the Deaf, Bob Rumball Camp of the Deaf, Parry Sound 2022 “Floating”, 3 bike barriers on Conlins Rd. cycle track, Scarborough 2021 “Into the Unknown”, part of Women Paint mural project, sound barrier on Rexdale Blvd., east of Highway 427, Etobicoke 2021 “Local Produce”, Bell box at Bedford Park Ave. & Avenue Rd., Toronto 2021 “Leopard and Pickerel Frogs”, 37 Bakersfield St., North York 2021 “Be Strong, Be Kind, Be You”, 572 Church St., Toronto 2021 “Save our Waters”, 3 bike barriers, Richmond St. W & Portland St., Toronto 2021 “Symbols of Mt. Pleasant”, street pole, Mt. Pleasant Rd. & Millwood Rd., Toronto 2020 “Weiner Dogs”, bike barriers on Scarlett Rd. cycle track, Etobicoke 2020 “Cats and Flowers”, collab. with Hot Snax, Antonio Fernandez Lane, Toronto 2020 “Moths and Alder Leaves”, Bell box at 155 Gamma St., Etobicoke 2019 “Wildlife Orchestra”, Jean Sibelius Square Park, Toronto 2019 “Under the Sea”, Bell box at Allingham Gdns. & De Quincy Blvd, North York 2018 “International Foods”, Outside the Box, Dundas St. W. & Spadina Ave., Toronto 2018 “Celebrating the Arts”, Bell box at Irene Avenue Parkette, Toronto 2015 “Planting Life” Milky Way Garden mural, Milky Way Lane, Toronto MURALS (as assistant painter) 2022 “Native Flowers” by Pam Lostracco, 240 Heath St. W., Toronto 2020 “All My Relations” by Rebbeca Baird, CAMH, Toronto 2018 “The Original Family” by Philip Cote, 200 Dundas St. E., Toronto 2018 “Trompe L’oeil Planters” by William Lazos, 2 Fraser Ave., Toronto - 34 - SOLO EXHIBITIONS 2022 Inner World, Whippersnapper Gallery, Toronto GROUP EXHIBITIONS 2023 The Hooves Belonged to the Deer, Tarragon Theatre, Toronto 2022 She Also Served: Jewish Canadian Service Women in the Second World War, The Military Museums, Calgary 2020 International Women’s Day Exhibition, Collective Arts Brewing, Hamilton 2019 Re:UNION, Union Gallery, Kingston 2019 Abstract Thoughts as Paintings, Neighbourhood Gallery, Toronto 2018 Swash & Serif 5, Northern Contemporary, Toronto 2018 Visual Voices, Unison Health & Comm. Services – Oakwood-Vaughan, Toronto 2018 Utility Box Show, Super Wonder Gallery, Toronto 2018, 2017 Lawrence Park Art Show, Lawrence Park Community Church, Toronto 2018 The Best Laid Plans, The Gallery at the J, Miles Nadal JCC, Toronto 2017, 2015 VIBE Arts Exhibition, Bending Spoons Gallery, Toronto 2017 Toronto Art Exhibition, Capitol One, Toronto 2016 VIBE Arts Fest Exhibition, Aki Studio, Toronto 2015 PALEBLUE: Art & Sounds From the Milky Way, Milk Glass Co. Gallery, Toronto 2013 Wallack’s Employee Art Exhibition, Wallack Galleries, Ottawa 2013, 2012 Collective Seen, Fall Down Gallery, Ottawa 2012 101 Un-Framed – 29 Forever, Gallery 101, Ottawa 2012 Figureworks, Saint Brigid’s Centre for the Arts, Ottawa 2012 Made in Ottawa, Fall Down Gallery, Ottawa 2010 Wine Works, Azrieli Pavilion, Carleton University, Ottawa 2010 Just Act Natural, Studio 22, Kingston 2007 Salon des Videos, State of Flux, Modern Fuel Artist-Run Centre, Kingston 2007 nineteen°, BFA Graduating Show, Ontario Hall, Queen’s University, Kingston 2007 SHIFT, Union Gallery, Queen’s University, Kingston 2007 Cézanne’s Closet, Ban Righ Hall, Queen’s University, Kingston 2006 Out of Order, State of Flux, Modern Fuel Artist-Run Centre, Kingston 2006 Out of Site, Project Room, Union Gallery, Kingston 2006 Listen Up! Music to Your Ears, Mini-Works Silent Auction, Union Gallery, Kingston VIDEO SCREENINGS 2020 “Abstract Dreams”, Night Visions Anijam Competition, TAIS, Online 2011 “I Think of Longboats”, One Minute Film Festival, Mayfair Theatre, Ottawa 2007 “What’s the Big Deal?”, Ghosts of Presence: International Emerging Artists’ Video, Art Gallery of York University (AGYU), Toronto 2007 “Avé Maria”, (w)ringing the sponge, Modern Fuel Artist-Run Centre, Kingston 2005 “What’s the Big Deal?”, Split Screening, Modern Fuel Artist-Run Centre, Kingston 2005 “Push It”, Stay Tuned, Ellis Hall, Queen’s University, Kingston - 35 - RELATED EXPERIENCE 2021-present Lead Artist, VIBE Arts, Toronto 2018-present Graphic Designer & Illustrator, Freelance, Toronto 2014-2021 Artist Assistant, VIBE Arts, Toronto 2018-2019 Graphic Designer (Contract), UJA Federation of Greater Toronto, North York 2016-2018 Graphic Designer, Miles Nadal Jewish Community Centre, Toronto 2014-2015 Workshop Facilitator, The National Film Board of Canada, Toronto 2014 User Researcher & Community Manager (Contract), Windowfarms LLC, Toronto 2012-2013 Sales Associate, Wallack’s Art Supplies, Ottawa 2010-2012 Teaching Assistant, School of Industrial Design, Carleton University, Ottawa 2010-2012 MDes Councillor, Graduate Student Association Council, Carleton University EDUCATION 2016 Graphic Design for Print and Web Certificate, Humber College, Toronto 2014 Leadership Training in Mural Making Certificate, Mural Routes, Toronto 2010-2013 Master of Design in Industrial Design, Carleton University, Ottawa 2003-2007 Bachelor of Fine Art (Honours), Queen’s University, Kingston AWARDS 2022 Riverside BIA Window Wonderland winner 2010-2012 Departmental Graduate Scholarship, Carleton University 2011 Reviewer’s Favourite Award, IASDR2011 Conference (International Association of Societies of Design Research), Delft, the Netherlands 2006 Dean’s Honour List Ontario Scholar, Queen’s University 2003 Entrance Honours with Merit, Queen’s University COLLECTIONS The Military Museums (Calgary), KPMG, Unison Health & Community Services, private collections in Canada - 36 - City of Pickering Community Banner Series Expression of Interest Name: Talie Shalmon Contact Info: (647) 767-4706, talie.shalmon@gmail.com Artist Statement I am an artist, muralist, graphic designer and arts educator from Toronto. My work is inspired by nature and tends to have a whimsical, playful quality. I work with a variety of media, including murals, painting and digital graphics. I have exhibited in art galleries across Ontario, including Modern Fuel Artist-Run Centre, Northern Contemporary and Whippersnapper Gallery. Illustration clients include the City of Pickering, the Church-Wellesley Village BIA, the Bloor Annex BIA, Arts Etobicoke and the Military Museums in Calgary. I would love to participate in this project because I am passionate about public art. I’ve had the opportunity to paint murals in a number of GTA neighbourhoods and create street banners for the City of Pickering in 2020 and 2022, as well as the Church-Wellesley Village BIA. I really enjoyed coming up with imagery to represent these communities and share a message about them to the general public. It’s very exciting seeing my artwork displayed in public and being able to share it with the community. I have experience with both hand-painted and digital wrap murals. My most recent mural is a digital wrap mural, entitled “City of the Future,” created for the Bloor Annex BIA with the support of StreetARToronto. This mural expresses the idea that we are responsible for building and growing our community and that we have the power to shape it in positive ways. The design was created digitally, in Adobe Illustrator, and printed on matte vinyl that was adhered to the brick wall, in order to mimic a painted mural. The public art I create depicts subject matter that relates to the neighbourhood in which the artwork is located, referencing the space’s history, usage or unique surrounding community. I love to contribute to neighbourhoods by reflecting the residents and their values in the artwork, beautifying public spaces and sending a positive message to the community. I have completed several community engaged public artworks, including murals involving seniors, school children and the Deaf community. I often survey community members to get feedback about their ideas, what themes they envision for the project and what they would like to see in the artwork. I have gone to schools, parks and community centres to engage the public in getting input as well as having the public participate in the artistic process itself. To engage the community in the Pickering Community Banner Series, I could speak with community members in a public space such as a park, or request input from surveys on social media. I would then use this input to shape the direction of the banner. - 37 - References Ashabi Idris (she/her) Community Program Manager, VIBE Arts (416) 929-9314 ext.112 ashabi@vibearts.ca I work with VIBE Arts leading art projects and murals. Ashabi has coordinated some of the programs I have lead, including a mural at Portage Trail Community School, a mural created with Toronto Community Housing Seniors’ Residence, and a mural project with the Bob Rumball Canadian Centre of Excellence for the Deaf. Caitlynn Fairbarns (she/her) Marketing Coordinator, Church-Wellesley Village BIA (416) 321-1351 caitlynn@churchwellesleyvillage.ca I have completed several commissions from the Church-Wellesley Village BIA, coordinated by Caitlynn. The most recent commission was a street banner that is displayed on poles along Church Street. I also created a poster and social media graphics for a community Chanukah event, as well as a large-scale mural for the BIA. - 38 - “City of the Future”, digital mural on vinyl, 13x13 feet, 378 Bloor St. West, Toronto, 2022 Commissioned by Bloor Annex BIA and StreetARToronto - 39 - “Welcome to the Village”, digital art, street banner installed on Church Street, 2.3x5 feet, 2023, Commissioned by Church-Wellesley Village BIA - 40 - “Fish of Lake Ontario”, digital art, street banner installed in Pickering, 2x5.2 feet, 2022, Commissioned by the City of Pickering - 41 - “The Story of Sarah Lack”, digital art, exhibition banner, 2.4x5.4 feet, 2021 Commissioned by the Military Museums, Calgary - 42 - “Save our Waters”, latex on 3 concrete bike barriers, Richmond St. W & Portland St., Toronto, 2021 Commissioned by StreetARToronto - 43 - “Be Strong, Be Kind, Be You”, latex on wood, 572 Church St., Toronto, 2021 Commissioned by Church-Wellesley Village BIA - 44 - “Leopard and Pickerel Frogs”, latex on metal utility box, 37 Bakersfield St., North York, 2021 Commissioned by the Bell Box Murals Project - 45 - “Local Produce”, latex on metal utility box, Bedford Park Ave. & Avenue Rd., 2021 Commissioned by the Bell Box Murals Project - 46 - “Wildlife Orchestra”, latex on concrete, Jean Sibelius Square Park, Toronto, 2019 Commissioned by Annex Residents Association and StreetARToronto - 47 - “Into the Unknown”, latex on chip board sound barrier, part of Women Paint mural project, Rexdale Blvd., east of Highway 427, Etobicoke, 2021 Commissioned by Women Paint, Arts Etobicoke and StreetARToronto- 48 - 01. EXPRESSION OF INTEREST website / yenlinhthai.com email / ny.linhthai@gmail.com instagram / @yenlinh.thai Community Banner Series City of Pickering Yen Linh Thai - 49 - GRANTS & AWARDS 2023 Mississauga Arts Council Matchmaker Microgrant 2021 Visual Arts - Emerging, MARTYs (Mississauga Arts Awards) 2020 Innovative Award, Main Street Art Challenge, STEPS Initiative x Toronto Chinatown BIA 2017 3rd Place, Visual Arts Mississauga Annual Member’s Show & Sale Honourable Mention, Necessary Gestures, Visual Arts Mississauga 2016 Faculty Award for Drawing, 48th Annual Juried Art Show, UofG 2015 Honourable Mention, 47th Annual Juried Art Show, UofG RESIDENCY/MENTEESHIP 2021 Toronto Animated Image Society Micro-Residency, Toronto Artists Online: Transitioning to Digital Marketing, Mississauga Arts Council 2020 MOCA Toronto, Michael Lin’s “Archipelago,” Toronto 2019 Sculpture Court Skate Park Murals x Mango Peeler, City of Mississauga 2017 Spark Box Studio, Prince Edward County PRESS, FEATURES & TALKS 2023 6 Powerhouse Women We’re Honouring for International Women’s Day, Square One Blog 2022 To Infinity and Beyond, AGO Insider Opportunity Knocks, Panel Talk, University of Guelph x AGG x SOFAM Inner Space: Studio Tour Web Series x Youth Advisorty, AGO 2020 A Day in the Life with Multidisciplinary artist Yen Linh Thai, Toronto Guardian COMMUNITY ENGAGEMENT & MENTORSHIP 2023 (upcoming) Portraits of Mississauga Youth Workshops, Visual Arts Mississauga (upcoming) Mo(ve)ment: Commuter Wellness collaborative tapestry, STEPS Initiative x City of Mississauga (upcoming) Snail Mail: Connecting Mississauga Creatives & Community SHSM Portfolio Development Workshop, Visual Arts Mississauga SHSM Mural Art Techniques, Living Arts Centre 2021 CreateSpace Public Art Residency Mentor MURALS, EXHIBITIONS & SCREENINGS 2023 (upcoming) BMO South Common Mall x STEPS Initiative Mural Winter Windows in the Village of Islington, Arts Etobicoke, Etobicoke Where Water Meets Sky, private mural commission, Los Angeles CA International Women’s Day illustrations, Square One, Mississuaga 2022 Riverside Window Wonderland, Riverside BIA x STEPS Initiative, TO To Infinity and Beyond, AGO Mural, Art Gallery of Ontario, TO Playing Tiger, Sittin’ Dragon, 6ix Art Outdoor, ICFF, Distillery District, TO Freshly Picked, Port Credit LCBO mural, Murals with MAC, Mississauga Conlins Road Cycle Track Murals, StART, Scarborough Little Treasures, Clarkson Village BIA x STEPS Initiative light pole murals, CURRICULUM VITAE - 50 - Main Street Art Challenge, Mississauga Fish Friends’ Fishy Feast, DUKE Heights BIA x STEPS Initiative, TO Inner Space: Studio Tour Web Series x Youth Advisory, AGO, TO Mother Tongue, Art Gallery of Burlington, Burlington Peel Children’s Aid Foundation Playroom, Murals with MAC, Mississauga 2021 Window Wonderland, The Eglinton Way BIA x STEPS Initiative, Toronto Womxn Paint TO, Arts Etobicoke, Etobicoke Mooncakes by Moonlight, Murals with MAC Bell Box, Mississauga Alderwood Mural, Alderwood Action A¤er School, Etobicoke Spike & Flaps, Etobicoke Lakeshore Bell Box Murals, Toronto Edenrose Welcome Mural, Edenrose Public School x Visual Arts Mississauga, Mississauga 37 Poles, 37 Artists, Mount Pleasant Village BIA, TO We Are Better Together, Guardian Pharmacy Roncesvalles, TO Picnic Pals, Outside the Box, Street Art Toronto, TO From Buddy to Bee, Creative City Check-In: Port Credit, You Made It Peel x Port Credit BIA, Mississauga Richmond Street Cycle Track Murals, Street Art Toronto, TO Pleasant Dreams, Invitational Bell Box Murals, Pleasant Boulevard, TO Superheroes, Supporting Healthcare Trac Signal Box Wraps, City of Hamilton, Hamilton From Bear to Bunny, Creative City Check-In: Streetsville, You Made It Peel x Little Rose Cookie Co., Mississauga Walks of Art, Maps of Mississauga, City of Mississauga, Mississauga Space Market, Makeroom x Artscape Daniels Launchpad x Stackt Market screening, TO 2020 High Park Zoo Mural, Friends of High Park, TO Stories on Scarlett: Scarlett Road Cycle Track Murals, Street Art Toronto Let’s Eat! Chinatown CafeTO Tabletop Art, Main Street Art Challenge, STEPS Initiative x Chinatown BIA, TO Together Again, Celebration Square mural, Mississauga A Swimmer & His Flying Friends, Etobicoke Lakeshore Bell Box Murals, Etobicoke Block Party, Toronto St. Paul’s Bell Box Murals, Toronto Maps of Mississauga, City of Mississauga, Mississauga Sunshine Streets, Daniels Keelesdale x STEPS Initiative Construction Hoarding Exhibit, York St. Teresa of Avila Mural, St. Teresa of Avila Catholic School x VAM, Mississauga PUBLICATIONS 2022 Living Hypen Issue 2.2: Healing Across Generations 2019 F*ems Zine Issue 14: Photography 2016 16. Specialized Studio 2015-2016 publication EDUCATION 2016 BScH (with distinction), Animal Biology & Studio Art, University of Guelph - 51 - Artist name: Yen Linh Thai (she/her) Email: ny.linhthai@gmail.com Legal name: Nhat-Yen-Linh Thai Phone: 647 984 0341 Address: 7707 Redstone Road, Website: yenlinhthai.com Mississauga ON L4T2C1 Instagram: @yenlinh.thai Youtube: @yenlinhthai ARTIST STATEMENT I am a multi-disciplinary artist, illustrator and muralist based in Mississauga. My work explores the whimsical and is largely inspired by stories and storytelling. I strive to make art that exists bertween two and three dimensions. In recent years, my practice has expanded to public art projects, creating artworks inspired by the communities they live in. VISION FOR THE PROJECT My vision for this project is to bring nature onto the main streets. I would like to digitally illustrate tranquil scenes with local flora and fauna and increase visibility of native or endangered species that we share our land with. Pickering has many beautiful green spaces, including 4 conservation areas, the waterfront, not to mention Rouge National Park next door. I’ve visited my friend Lindsay and exploring the woods together is a memory I think of fondly (pictured on the le). The series will celebrate green spaces that provide important environmental benefits and add biodiversity to the community. This is a recurring theme in my work and fitting for this project since sustainability and repurposing the banners is a key outcome. . EXPERIENCE My public art journey started in 2019, and since then I have created artwork for the Art Gallery of Burlington, Peel Children’s Aid Society, and the Art Gallery of Ontario. In 2021, I was awared the MARTY (Mississauga Arts Award) in Emerging Visual Arts. I hold a B.Sc.H in Animal Biology & Studio Art from the University of Guelph (2016). I have experience digitally illustrating and painting murals both indoor and outdoor surfaces. I intend to use this opportunity to further develop and better align my drawing style with other areas of my practice which has expressive linework and subtler (still saturated) colours. My solo exhibition Mother Tongue most embodies what I would like to emulate in future works. COMMUNITY ENGAGEMENT I plan to visit parks to take documenation photos for inspiration. Ideally, and time permitting I would ask for community photo submissions (via QR code/link in outreach) so that the creative process is collaborative and reflective of the community. It would also be great to share the photos online to accompany the finished banner artwork. I’ve worked with students and fellow artists to co-create (ex. Michael Lin’s Archipelago at the MOCA (2020), Sculpture Court Skate Park Murals (2019) and each rewarding experience motivates me to find another. Through creating these banners, I hope to connect with the Pickering community and better connect the community to Pickering’s natural heritage! EXPRESSION OF INTEREST - 52 - ARTIST STATEMENT I am a multi-disciplinary artist, illustrator and muralist based in Mississauga. My work explores the whimsical and is largely inspired by stories and storytelling. I strive to make art that exists bertween two and three dimensions. In recent years, my practice has expanded to public art projects, creating artworks inspired by the communities they live in. VISION FOR THE PROJECT My vision for this project is to bring nature onto the main streets. I would like to digitally illustrate tranquil scenes with local flora and fauna and increase visibility of native or endangered species that we share our land with. Pickering has many beautiful green spaces, including 4 conservation areas, the waterfront, not to mention Rouge National Park next door. I’ve visited my friend Lindsay and exploring the woods together is a memory I think of fondly (pictured on the le). The series will celebrate green spaces that provide important environmental benefits and add biodiversity to the community. This is a recurring theme in my work and fitting for this project since sustainability and repurposing the banners is a key outcome. . Mother Tongue (2022) - Art Gallery of Burlington >300 sq | solo exhibition, latex paint, paper cuts and fruit PORTFOLIO Conlins Road Cycle Track murals (2022) - StreetArt Toronto 4*(9’10” x 1’7”), latex on concrete Superheroes (2021) - City of Hamilton 43 sq, digitally illustrated vinyl | | near Ron Joyce Children’s Health Centre- 53 - Sunshine Streets (2020) - The Daniels Corporation x STEPS >100’ x 8’ | digitally illustrated construction hoarding | 2175 Keele St Fish Friends’ Fishy Feast (2022) - DUKE Heights BIA x STEPS 36.6 sq, digitally illustrated vinyl | 5 Brisbane Rd Freshly Picked, Port Credit LCBO Murals (2022) - Mississauga Arts Council 10’ x 10’, digitally illustrated vinyl | 200 Lakeshore Rd E - 54 - To Infinity and Beyond (2022) - Art Gallery of Ontario 30’ x 9’ wall, and art carts 3*(8.5’ x 3’) | latex paint Let’s Eat! (2020) - Chinatown BIA x STEPS 3*(2’ x 6’), digitally illustrated vinyl - 55 - website / yenlinhthai.com email / ny.linhthai@gmail.com instagram / @yenlinh.thai Yen Linh Thai Thank you for your time I would love to work with you! AMANDA FOULDS Programs Coordinator | Visual Arts Mississauga email: programs@visualartsmississauga.com cell: 647 283 4229 Amanda has also curated and coordinated community-engaged projects that I have worked on with Presence Mississauga and You Made It Peel PHILIPPA FRENCH Curator, Public Art | City of Mississauga email: philippa.french@mississauga.ca phone: 905 615 3200 ext. 4675 cell: 416 527 3799 Philippa has been curator and coordinator on public art projects I’ve worked on including Sunshine Streets for STEPS Initiative and Maps of Mississauga for the City of Mississauga REFERENCES - 56 - Memo To: Cultural Advisory Committee June 13, 2023 From: Jesse St. Amant Coordinator, Cultural Services Copy: Acting Supervisor, Cultural Services Acting Curator Division Head, Culture and Community Programming Director, Community Services Subject: Update: Whitevale Arts and Culture Centre - Community Public Art Proposal for Endorsement File: S-1000-013 Public Art Community Services has received a Community Art Project proposal from the Whitevale Arts and Culture Centre - “Beautifying our new Garbage Bin”. The project consists of an art work juried show being coordinated and run by the Whitevale Arts and Cultural Centre (WACC); for children under 12 living in the Pickering community over the summer; that will be invited to submit a drawing or painting representing pollinators and/or pollinator gardens. The selected designs will be chosen and painted by WACC members, and artist Brigitte Sopher (who painted the mural on the east side of the WACC) in the Fall of 2023 onto the city garbage bin located near the mailbox station in community of Whitevale . They are not asking for financial contributions, and their are no financial implications to the City. (see attached: the full proposal from the Whitevale Arts and Culture Centre - “Beautifying our new Garbage Bin”) As this is a Community Art Project (Section 08.04 – Public Art Policy) and Cultural Services supports the initiative; it is also requires the support of the Public Art Committee, and Cultural Advisory Committee to proceed. The Public Art Committee comprised of members with experience as practicing arts professionals, and community members with significant knowledge of arts and culture were requested to review the project proposal the week of June 5, 2023. The Public Art Committee endorsed the project by email on June 9, 2023. Discussion: Community Services is requesting that the Cultural Advisory Committee endorse the Community Public Art proposal submitted by the Whitevale Arts and Culture Centre - “Beautifying our new Garbage bin”. /jsa Attachment Proposal - Whitevale Arts and Culture Centre - “Beautifying our new Garbage bin” - 57 - Whitevale Arts and Culture Centre - “Beautifying our new Garbage bin” Project: The project consist in an “art work juried show” where children under 12 living in the Pickering community will be invited to submit a drawing or painting representing pollinators and/or pollinator gardens. Purpose of Proposal •To improve the aesthetic appeal of a new large garbage bin placed besides the mailbox area and the Whitevale Arts and Culture Centre building and pollinator gardens. •To attract attention to the existing pollinator gardens and their ecological and aesthetic value by decorating the garbage bin using a pollinator theme. •To involve the young members of the local community by giving them a role to play in the public art displayed in their community. Rules of the Juried Show •It will run for one month, either July or August in the summer depending on the timing of the City’s decision. •It will be open to Pickering children under 12. •The theme of the art is “Pollinators and Pollinator Gardens”. •The media and size of the painting are not specified but submissions should not be larger than 22” x 28”. •The work will be judged by the team of 4 WACC volunteers, with the addition of 2 local artists. In addition to the artistic merit of the work, the relevance to the theme and feasibility of reproducing the work on the bin will weight on the decision. •The 5 works selected will be reproduced on the garbage bin by WACC member and artist Brigitte Sopher (who painted the mural on the east side of the WACC) in the Fall of 2023. •All the submitted works will be displayed in an Art Show at the WACC in the Fall of 2023. Funding of Project: The Whitevale Arts and Culture Centre will be using some of the funds from the Community Grant received in 2022 to buy the paint and cover miscellaneous expenses. - 58 - See below examples found on line of art work painted on Garbage bins: Existing garbage bin to be painted Examples of similar bins being painted WACC mural and pollinator garden - 59 - Memo To: Cultural Advisory Committee June 9, 2023 From: Stoyan Barakov Coordinator, Public Art Copy: Acting Supervisor, Cultural Services Acting Curator Division Head, Culture and Community Programming Director, Community Services Subject: UPDATE: Waterfront Public Art - Consultation Services Background: During the March 21, 2023 Cultural Advisory Committee meeting, the CAC was informed that Cultural Services staff will be seeking to directly invite three teams of artist/designers to provide concepts for public art ideas for Rotary Frenchman’s Bay West Park. Collected concepts will be used to create a call to artists (2025), submit applications for external funding and inform further Waterfront trail design. The three consultants who participated in this were: 1. Figureground Studio Figureground Studio, based on Toronto, is a practice engaged with site specific public art projects for the civic realm. The studio is focused on the creation of experientially rich and i nhabitable sculptural spaces and enhancing the socially enabling qualities of the built environment. Following a collaborative working process, each project brings together visionary clients, design professionals, government officials, community members an d leaders. The resulting works are those which seek to meaningfully engage and enrich the civic imagination. 2. Julia Jamrozik and Coryn Kempster Toronto-based designers, artists and educators who have collaborated since 2003. Together they create spaces and objects that interrupt everyday situations in critically engaging and playful ways. 3. Suzanne Simoni - 60 - “In conversation with materials, I explore our interconnectedness within biological and social communities. I am interested in the phenomenon of being in relation to the vast terrain of objects that have each followed a unique trajectory from the moment of the Big Bang, traceable as we all are, back to the dust of stars.” Funding: Each consultant was compensated $4,700 excluding HST to develop one permanent public art concept. The consultants were provided with a brief prior outlining exact criteria, location and budget frame of $240,000 excluding HST. Next steps: Cultural Services will review the collected concepts and determine how we will use these concepts to create a call to artists. Additionally, this provides an opportunity to leverage the concepts for grant funding once this becomes available. Discussion: In order to create a call to artists, we are seeking input from the CAC on: what do you like about the concepts that we should consider for a call to artists or funding opportunities. Attachments: 1. CONCEPT_RFBWP_FGS 2. CONCEPT_RFBWP_CKJJ 3. CONCEPT_RFBWP_SIMONI June 9, 2023 Page 2 of 2 Cultural Advisory Committee – UPDATE Waterfront Public Art: Consultation Services - 61 - ROTARY FRENCHMAN’S BAY WEST PARK CITY OF PICKERING PUBLIC ART CONCEPT PROPOSAL JYHLING LEE - FIGUREGROUND STUDIO, JUNE 7, 2023 - 62 - ROTARY FRENCHMAN’S BAY WEST PARK CITY OF PICKERING PUBLIC ART CONCEPT PROPOSAL JYHLING LEE - FIGUREGROUND STUDIO, JUNE 7, 2023 Thank you for the opportunity to create this special public art proposal for the Rotary Frenchman’s Bay West Park (RFBWP). I had the chance to visit the unique and impressive site of the RFBWP at the beginning of May, 2023. Even while under construction, the beach front was well used by families, small groups, and individuals taking in the views, strolling along the beach and down to the lighthouse, and even some taking in some fishing. I can only imagine all the other activities and amenities that will be availabl at the park once the revitalization construction works are completed. In response to and in celebration of this distinctive park and rich ecosystem of varied landscapes, from the barrier beach, sand bar coastal wetlands, meadows, and climax forest, along with their respective flora and fauna, I have chosen to create a conversation between the sit e and visitors through the introduction and presence of large scale sculptural origami animal families of different species and groupings across multiple locations of the park. The site specific presence and scale of these permanent sculptural origami anim als serve to animate each location and to spark curiosity and offer people, young and old, an opportunity to play and interact with the artwork. The origami animals chosen include trumpeter swans, rabbits, foxes, water-side birds, and a turtle. These were selected based on research, site observations, and discussions with a colleague and resident of Pickering who regularly frequents the park. The well known trumpeter swans of the park are celebrated at the park entrance, welcoming the moment of arrival at Site 1. This family grouping consists of two adult swans and three cygnets located on the green way between walking and cycling paths on the north side of the roadway. Developed to allow for human scale interaction, the adult trumpeter swans are approximately 1.9m tall, while the cygnets are approximately 0.6m tall. A family of rabbits can be found at Site 2 occupying part of the roundabout and the entrance down to the beach. The two adult rabbits are approximately 1.9m tall, while the baby rabbits are approximately 0.6m tall. I was not able to visit Site 3 however speaking with my Pickering resident colleague, there is a good likelihood that foxes can be found more prevalently around Site 3. Site 8 is shown as an alternate site for the family of foxes. While walking along the beach at sunset an abundance of singing and quick flying birds were prevalent around the stretch of beach at Site 4. At this location, 2 large birds are sited, one perched on a rock with wings spread, while the other looks on from the ground across the beach path. Both birds are approximately 1.5m tall. Climbing out of the water along the beach is the turtle at Site 7. It is envisaged however, that the turtle could be situated coming out of inner Frenchman’s Bay side at potentially Sites 5 or 6, however, access to these sites was not available at this time to review first hand. This large turtle is approximately 1.6m long. Please note that all of the proposed siting and locations along with the colour of the sculptural origami animals would be further developed through working closely with the City of Pickering to determine their most suitable presentation. As a welcoming and well used people and family friendly park. I do hope that the proposed series of origami animal families can act as art elements to discover and enrich the civic imagination, and as special land markers contributing to the experiential richness, wonder, and diversity of this place, allowing visitors to linger and spend more time across the site of the RFBWP. Sincerely, Jyhling Lee, Figureground Studio - 63 - ROTARY FRENCHMAN’S BAY WEST PARK CITY OF PICKERING PUBLIC ART CONCEPT PROPOSAL JYHLING LEE - FIGUREGROUND STUDIO, JUNE 7, 2023 FABRICATION The sculpture will be fabricated out of aluminum plate, varying from ¼” to 3/8” thick, depending on aesthetic and surface of animal and its structural engineering design needs to allow for wind, snow, and reasonable live (climbing) loads, etc. It will be f inished with a UV resistance paint, e.g. an automotive paint or 2 part polyurethane paint which would allow for touch ups if needed which is not easily possible with powder coated finishes. All sharp edges will be ground smooth to the touch, and all point ed origami geometries will be rounded for safety. The sculptural elements will be anchored into the concrete foundation base (provided by the City) with wedge anchors. MAINTENANCE It is recommended that the sculptures be power washed at low pressure twice a year along with an inspection. Aluminum as a base material does not rust, however, any minor touch ups should be made every 1-5 years or as required. PHASING / WORKPLAN - First year: 2 large swans, 3 small swans - Second year: 2 large rabbits, 3 small rabbits, 1 turtle - Third year: 1 fox, 2 small foxes, 2 birds The order of the grouped phasing can be switched if needed. In this proposed phasing, it would be good to see the main entrance swan sculptures in place in the first year while the second and third year sculptural elements can switch if needed. TIMELINE Artwork detail design for fabrication: 4-6 weeks from PO issue Shop Drawings: 3-4 weeks Fabrication and installation: 12-14 weeks from shop drawing approval - 64 - the cygnets are approximately 0.6m tall. 2 Adult Swans ~1.9m tall, 3 Baby Cygnets ~0.6m tall Painted Aluminum SITE 1: ORIGAMI FAMILY OF SWANS The well known trumpeter swans of the park are celebrated at the park entrance, welcoming the moment of arrival at Site 1. This family grouping consists of two adult swans and three cygnets located on the green way between walking and cycling paths on the north side of the roadway. Developed to allow for human scale interaction, the adult trumpeter swans are approximately 1.9m tall, while - 65 - 2 Adult Rabbits ~1.9m tall, 3 Small ~0.6m tall Painted Aluminum SITE 2: ORIGAMI FAMILY OF RABBITS A family of rabbits can be found at Site 2 occupying part of the roundabout and drop off area entrance down to the beach. The two adult rabbits are approximately 1.9m tall, while the baby rabbits are approximately 0.6m tall. - 66 - SITE 3/8: ORIGAMI FAMILY OF FOXES 1 Adult Fox ~1.9m tall, 2 Small ~0.6m tall Painted Aluminum I was not able to visit Site 3 however speaking with my Pickering resident colleague, there is a good likelihood that foxes can be found more prevalently around Site 3. Site 8 is shown as an alternate site for the family of foxes. - 67 - 2 Large Birds ~1.5m tall Painted Aluminum are approximately 1.5m tall. SITE 4: ORIGAMI PAIR OF BIRDS While walking along the beach at sunset an abundance of singing and quick flying birds were prevalent around the stretch of beach at Site 4. At this location, 2 large birds are sited, one perched on a rock with wings spread, while the other looks on from the ground across the beach path. Both birds - 68 - 1 Large Turtle ~1.6m long Painted Aluminum 1.6m long. SITE 7: ORIGAMI TURTLE Climbing out of the water along the beach is the turtle at Site 7. It is envisaged however, that the turtle could be situated coming out of inner bay side of Frenchman’s Bay at potentially Sites 5 or 6, however, access to these sites is not available at this time. This large turtle is approximately - 69 - ROTARY FRENCHMAN’S BAY WEST PARK CITY OF PICKERING PUBLIC ART CONCEPT PHASE 1 BUDGET JYHLING LEE - FIGUREGROUND STUDIO, JUNE 7, 2023 BUDGET LINE ITEM COST Artist Design and Labour Fee (to Year 1 Project Completion) $78,000 -includes Detail Design, Project Management, Contract Administration, Meetings, Site Visits, Artwork Royalty Fabricator: Urban Art & Metal Works Inc. (UAMW) $157,000 -please refer to the fabricators detailed quotation in the page following Legal Fees Contract Review $1,560 Insurance $2,100 Disbursements and Travel $1,340 (2 visits to UAMW and 3 visits to Project Site) Contingency of 15% Included in Budget TOTAL* $240,000 +HST ($80,000/year, years 1-3) * - Foundations by others - All permits covered by the municipality/client - Municipality/client to provide free and clear access to installation area onsite Payment Terms: 50% upon PO release, phased across 3 years. 50% due upon installation, phased across 3 years. Year 1: 1/6 of total upon PO release in year 1. 1/6 upon installation of phase 1. Year 2: 1/6 of total upon release of year two funds. 1/6 upon installation of phase 2. Year 3: 1/6 of total upon release of year three funds. 1/6 upon installation of phase 3. - 70 - Urban Art & Metal Works Inc. Urban Art & Metal Works Inc. Toronto. ON. Canada. www.urbanartandmetalworks.ca Twitter @UrbanArtMetal “Creatively bringing years of Industry experience and an open mind to your next project!” June 5th, 2023 Attn: Jyhling Lee Figureground Studio www.figuregroundstudio.ca 647-858-9810 jyhling@hotmail.com Cc: Kevin Liphard President & CEO Urban Art & Metal Works Inc. kevin@urbanartandmetalworks.ca Re: RFQ Origami Public Art Sculptures - Pickering, ON As per your earlier request for pricing for the above-named project, please see our proposal below. Scope of Work: 1. Supply and install 16 origami figures in accordance with photos and notes provided. Project Cost: $157,000 +HST Notes: • Shop drawings (including 1 revision) are accommodated in above pricing • Engineering is included in above price. • Material to be aluminum plate, varying from ¼” to 3/8” thick, depending on aesthetic and surface of animal. • Sculpture size and quantity as per the following: o 2 swans (~1.9m H) o 3 baby swans (~0.6m H) o 2 rabbits (~1.9m H) o 3 small rabbits (~0.6m H) o 1 fox (~1.9m H) o 2 small foxes (~0.6m H) o 2 birds (~1.5m H) o 1 turtle (~1.6m L) • Sculptures to be anchored to concrete with wedge anchors. • Above price accommodates UV resistant outdoor grade paint. (E.g. automotive paint or 2 part polyurethane paint.) • Concrete base by others. • Client to provide free and clear access to installation area onsite Phasing Workplan: • First year: 2 large swans, 3 small swans • Second year: 2 large rabbits, 3 small rabbits, 1 turtle • Third year: 1 fox, 2 small foxes, 2 birds Timeline: Shop Drawings: 3-4 weeks from PO issue Fabrication and installation: 12-14 weeks from shop drawing approval. - 71 - Urban Art & Metal Works Inc. Urban Art & Metal Works Inc. Toronto. ON. Canada. www.urbanartandmetalworks.ca Twitter @UrbanArtMetal “Creatively bringing years of Industry experience and an open mind to your next project!” Payment Terms: 50% upon PO release, phased across 3 years. 50% due upon installation, phased across 3 years. I.E.: Year 1: 1/6 of total upon PO release in year 1. 1/6 upon installation of phase 1. Year 2: 1/6 of total upon release of year two funds. 1/6 upon installation of phase 2. Year 3: 1/6 of total upon release of year three funds. 1/6 upon installation of phase 3. Sincerely, Matthew Cherkas Designer/Drafter/Project Coordinator Urban Art & Metal Works Inc. Toronto, Ontario O:(647)977.7027 - 72 - Urban Art & Metal Works Inc. Urban Art & Metal Works Inc. Toronto. ON. Canada. www.urbanartandmetalworks.ca Twitter @UrbanArtMetal “Creatively bringing years of Industry experience and an open mind to your next project!” Bid/Project Terms and Conditions 1. All guarantees are contingent upon all invoices being paid on time and in full. 2. This quotation is open to acceptance for a period of 45 days. All prices do not include applicable taxes 3. This project requires a mobilization period for procurement and requires a signed PO as per LINE #17 prior to commencement of custom fabrication. 4. Project includes a one (1) year parts and labor warranty from date of completion 5. Additional extended manufacturer warranties included where applicable. 6. Urban Art & Metal Works Inc. will not be responsible for damages or delays, resulting from “Acts of God” or other circumstances beyond our control, or to deficiencies/limits of equipment or structures or delays or deficiencies as a result of work by “others”. 7. Urban Art & Metal Works Inc. is fully insured for liability coverage of $10,000,000 with Platform Insurance. 8. Urban Art & Metal Works Inc. contributes / maintains full Workman’s Compensation Coverage. Able to provide proof of coverage prior to commencement. 9. Quotation includes all trucking/delivery costs, materials costs, labor costs, miscellaneous costs, and machining costs for work noted herein exclusively unless otherwise specified within. 10. Any additional works as approved by management is extra to quotation 11. Bonding is available at additional fees by the client upon request. 12. Shop drawings or permit fees to be paid by client & extra to proposal if required or as requested by client for any changes to these scopes of work. 13. If required engineered stamped drawings can be provided at additional cost or negotiated into proposal after the award. 14. UAMW reserves the right to review prior award acceptance. 15. Price of project is weekday work. After hours or weekend work will be at additional cost priced in this proposal 16. All Urban Art & Metal Works Inc. staff is non-union staff 17. Payment schedule: a. “Sculptural & Art, Water features” 50% upon PO release 50% due upon install/pick up b. “Architectural & Ornamental Metal” 25% upon PO issue 25%upon shop drawing 50% upon completion in 30 days c. Bicycle storage/Wire mesh locker 50% upon PO release 20% prior to installation 20% upon completion 10% due in 30 days 18. The project area will be left in “broom” clean condition upon demobilization. 19. Any lifting to area of work, scaffolding/scissor lifts required to agreed work contained in this proposal is by client as required. 20. Equipment and materials remain the property of Urban Art & Metal Works Inc. until paid in full. 21. Physical samples and mock-ups (if required) will be provided at additional cost 22. In cases of onsite welding: UAMW to provide fire watcher as needed; client to ensure fire alarm is bypassed as needed. 23. In cases of indoor welding: client to provide 110V, 20-amp dedicated circuit, or 220 V dedicated circuit, or access to power and breaker for UAMW welders, or open-door access for generator. Client to provide lifting of mobile welder to site. - 73 - Nesting a public artwork proposal for the Rotary Frenchman’s Bay West Park Julia Jamrozik and Coryn Kempster June 2023 - 74 - Design Statement 1/4 Nesting We walked along the beach on a sunny Saturday morning towards the West Lighthouse on Frenchman’s Bay appreciating the breeze and the views. Just before the pier, a series of sharp calls stopped us in our tracks - a tiny killdeer protecting her nest of eggs. We circled and gave her the space she needed. Her valiant effort garnered so much respect that even though our knowledge of the area has grown through experience and through research, every time we have spoken about the Bay and its environs the little bird came to mind. Influenced by this event, our public art proposal for the Rotary Frenchman’s Bay West Park is titled “Nesting.” It is composed of a series of artworks that can be deployed over time to activate the Beachfront Promenade and to speak about the unique location with reference to the habitat it harbours. Killdeer nest - 75 - Design Statement 2/4 In conversation with the local historian Tom Mohr, we have learned of the histories of Frenchman’s Bay, including its use by the Michi Saagiig Anishinaabeg as a site for fishing, harvesting wild rice and as a place of trade (with Iroquois ceramic artifacts found in the area). We learned about the four potential origin myths of the name of the Bay and of the settler occupation of the area and the industries the bay helped support, from ice cutting to stonehooking to rum- running and more. We learned that the geography of the bay has ebbed and changed, with wetlands or land taking over at certain times and water dominating at others, as seen on historical maps. With its many human histories, it is the land/water relationship and the fauna that we most want to highlight in our public artwork. sources: - Tom Mohr, “What’s in a name? Or the curious case of Frenchman’s Bay,” Pickering T ownsihp Historical Society Pathmaster - Tom Mohhr, “The History of Frenchman’s Bay,” Pickering Township Historical Society, September 2004. - Gidigaa Migizi (Doug Williams), “Foreword” in “The Draper Site, an Ontario Woodland Tradition Frontier Coalescent Vill age in Southern Ontario, Canada: Looking Back, Moving Forward.” by William D. Finlayson, Ph.D., F.R.S.C. - 76 - Design Statement 3/4 The primary motif used in our project is an egg - a reference not only to the killdeer but more broadly to the area as a habitat for various avian species and an important migratory stop. The variety of birds and their different behaviors, appearances and temporal occupation of the land, water and air, have been keenly recorded, studied and appreciated by birding enthusiasts. Based on sightings by both experts and citizen-scientists, the website ebird.org indicates 246 different species identified in Frenchman’s Bay alone. We believe that our artworks have the potential to bring the birds’ presence on this site to the attention and appreciation of the general public as well. sources: https://ebird.org/home , https://www.inaturalist.or g/ https://greatlakes.guide/ideas/learn-about-restoration-work-at-frenchmans-bay - 77 - Common Tern Forster’s Tern Killdeer Red-winged Blackbird Whimbrel Yellow Rail House Finch Mallard Blue Jay American Robin - 78 - Over the past eight years our artistic practice has been concerned with what we call ‘social infrastructures’: artworks that bring people together and encourage them to interact with one another. We think this approach to creating artwork for the public realm is all the more poignant since finding ways to foster real experiences in public space has never been so pressing as we find ourselves more and more in a state of isolated distraction within our echo-chambers, interacting with our mobile devices instead of with others. We believe that questioning the way people use and occupy space while questioning their relationship to one another through playful encounters has enormous potential for adding quality to our experience of public space. We intend for “Nesting” to become a social infrastructure - an armature not only to be admired from afar, but more importantly to be occupied in playful and engaging ways by people of all ages. We imagine five groupings of eggs: a large, a medium and three small clutches. The different sizes will allow and encourage different types of human occupation, from sitting on the smallest to entering the largest. Thus through playful and tactile experiences we want our artwork to foster connections between people and with the surrounding landscape. Design Statement 4/4 We want to work with an overlay of steel rebar to create an ordered, yet loosely woven appearance to the artworks. This will give the pieces both a light and ephemeral quality and will allow for durable fabrication. Each grouping of eggs will be coated in colourful tones (a main colour and additional speckles) corresponding in an abstract way to the patterns found on many species’ eggs. We will work with Toronto-based Punchclock Metalworks, whose attention to detail and technical expertise we appreciate, for the fabrication and installation of the pieces. We are excited to share this proposal with you and hope that it brings a new dimension to the natural landscape and its human use and that it sparks the imagination of visitors to the park in a playful and enriching way. Aldo, Seoul Breakwater, Jamestown, NY Pipelines, Denver Jamrozik and Kempster: Social Infrastructures - 79 - - 80 - Nesting - Three related artworks One clutch of 3 Large Eggs One clutch of 5 Medium Eggs Nesting is conceived as three related artworks based on the size of the eggs 12 Small Eggs in three clutches - 81 - Site Plan The above 8 locations have been designated for Public Art activations. 1 Entry way to RFBWP 2 3 Entry way to Waterfront Trail 4 Beach access link 5 Elevated viewing/ seating area with shade structure 6 Passive waterfront recreational node 7 Waterfront interpretive node 8 Frenchman's Bay Harbour entrance The final locations and configurations of all artworks will be determined in consultation with the City, Landscape Architects and other stakeholders. For example, while we did not select sites 3, 5 or 7 we could work on these sites instead if preferred 3 5 4 SMALL EGGS 6 CLUTCH 3 SMALL EGGS 2 CLUTCH 2 MEDIUM EGGS LARGE EGGS 8 7 SMALL EGGS 1 CLUTCH 1 - 82 - 3 SMALL EGGS 5 6 4 CLUTCH 3 LARGE EGGS SMALL MEDIUM 8 EGGS EGGS 7 2 CLUTCH 2 SMALL EGGS 1 CLUTCH 1 Large Eggs - Potential Location The final locations and configurations of “Nesting” will be determined in consultation with the City, Landscape Architects and other Community Centre stakeholders LARGE EGGS - 83 - Large Eggs - Perspective view - 84 - Large Eggs - Detail view - 85 - Eggs Entries into Eggs Connections between Eggs (move from inside one egg to another) Large Eggs - Diagram - 86 - Large Eggs - View outside looking at entry into egg - 87 - Large Eggs - View inside looking at connections between eggs - 88 - Large Eggs - Drawings 5.0m PLAN ELEVATION 5.0m Each of the three eggs are 8’ x 8’ x 12’ The rebar is always set on 4” centres to avoid any entrapment issues We can work with the landscape architects to specify a suitable fall safety protection zone around the scupture using engineered woodchips if desired 0.6m 2.5m - 89 - 3 SMALL EGGS 5 6 4 CLUTCH 3 LARGE EGGS SMALL MEDIUM 8 EGGS EGGS 7 2 CLUTCH 2 SMALL EGGS 1 CLUTCH 1 CLUTCH 1 CLUTCH 2 CLUTCH 3 Small Eggs - Potential Locations The final locations and configurations of “Nesting” will be determined in consultation with the City, Landscape Architects and other Community Centre stakeholders SMALL EGGS CLUTCH 3 SMALL EGGS CLUTCH 2 SMALL EGGS CLUTCH 1 - 90 - Small Eggs - Perspective view of Clutch 3 - 91 - 1.5m CLUTCH 1 2.1m CLUTCH 2 PLANS 1.8m 1.7m CLUTCH 3 1.6m Each of the twelve eggs are 2’ x 2’ x 3’ The rebar is always set on 4” centres to avoid any entrapment issues We can work with the landscape architects to specify a suitable fall safety protection zone around the scupture using engineered woodchips if desired Small Eggs - Drawings ELEVATIONS 25cm 60cm CLUTCH 1 CLUTCH 2 CLUTCH 3 1.2m - 92 - 3 SMALL EGGS 5 6 4 CLUTCH 3 LARGE EGGS SMALL MEDIUM 8 EGGS EGGS 7 2 CLUTCH 2 SMALL EGGS 1 CLUTCH 1 Medium Eggs - Potential Location The final locations and configurations of “Nesting” will be determined in consultation with the City, Landscape Architects and other Community Centre stakeholders MEDIUM EGGS - 93 - Medium Eggs - Perspective view - 94 - Medium Eggs - Drawings 4.2m PLAN ELEVATION 4.7m Each of the five eggs are 4’ x 4’ x 6’ The rebar is always set on 4” centres to avoid any entrapment issues We can work with the landscape architects to specify a suitable fall safety protection zone around the scupture using engineered woodchips if desired 25cm 130cm - 95 - Phasing We imagine building the Large Eggs in the first year, the small eggs in the second and the Medium Eggs in the final year However, this order is entirely flexible and could be changed if that were desirable Large Eggs Installation 2024 Small Eggs Installation 2025 Medium Eggs Installation 2026 - 96 - Timeline Artwork "A" Large Eggs Preparation Fall 2023 September Commission awarded Gather proof of insurance and WSIB clearance certificates October Coordinate with stakeholders to finalize artwork locations and discuss details Final detailed design package (including stamped engineering drawings if required) November City approval of final detailed design package for Artwork "A" Fabrication December Fabricate first "egg" in Artwork "A" as mockup for approval or modification Produce samples of all 4 colours for approval Winter 2024 January Fabricate remaining "eggs" in Artwork "A" Site visit with stakeholders to confirm final location of Artwork "A" February Coat "eggs" with two part polyeurethane process Spring 2024 March Contingency for delays Installation April Site preparation May Install Artwork "A" Artwork "B" Small Eggs Preparation Fall 2024 October Coordinate with stakeholders to confirm location of Artwork "B" November City approval to proceed with Artwork "B" Fabrication December Fabricate first "egg" in Artwork "B" as mockup for approval or modification Winter 2025 January Fabricate remaining "eggs" in Artwork "B" February Coat "eggs" with two part polyeurethane process Spring 2025 March Contingency for delays Installation April Site preparation May Install Artwork "B" Artwork "C" Medium Eggs Preparation Fall 2025 October Coordinate with stakeholders to confirm location of Artwork "C" November City approval to proceed with Artwork "C" Fabrication December Fabricate first "egg" in Artwork "C" as mockup for approval or modification Winter 2026 January Fabricate remaining "eggs" in Artwork "C" February Coat "eggs" with two part polyeurethane process Spring 2026 March Contingency for delays Installation April Site preparation May Install Artwork "C" - 97 - Materials and Fabrication We have worked with Toronto-based Punchclock Metalworks to ensure that the scope of what we are proposing fits the budget and that all of the technical parameters of the fabrication and installation meet the goals and constraints outlined in the RFP. The sculpture will be fabricated from 3/8” steel rebar and will have an industrial grade two-part polyeurethane enamel painted finish. Two-part polyurethane enamel paint is our preferred finish because it is more durable than powder coating and can be touched up in situ if necessary. While the appearance is the same as a regular glossy paint, it is an industrial process designed for coating heavy infrastructural elements such as bridges. We have used it in a number of projects to date and have been very satisfied with the appearance and durability. Several municipalities and organizations we have worked with now require this finish instead of powdercoating because of its superior qualities. “Nesting” will be fabricated and painted off-site, resulting in a simple and quick onsite installation that will require only helical piers or concrete pads below to support it. Maintenance “Nesting” is designed to be durable and require limited maintenance. The artwork should be cleaned as needed with soap and water using a soft, non- abrasive cloth to wipe away any residue from the painted surface. Deeper cleaning can be achieved using a chemical cleaner such as “Graffiti Solutions +” by Saman. If required on-site colour-matched paint touch-ups will be possible with the industrial grade two-part polyeurethane enamel painted finish. We will leave the City with a small can of each colour for this purpose in addition to the technical specifications required to order additional paint in the future if required. coated steel rebar reference: “Wonderland” by Jaume Pensa in Calgary - 98 - Coating Step 1 Three-step coating system CPCPB711 Wash Primer PLC-900 Features and Benefits: PLC-900 Wash Primer is a surface pre-treatment product designed for direct application to properly prepared bare metal surfaces. Optimum topcoat performance can be achieved with the use of PPG recommended topcoats and primers over PLC-900. · Good adhesion · Easy-to-use mix ratio Associated Products: · PLC-900 Wash Primer · PLC-901 Wash Primer Catalyst Physical Constants: All values are theoretical, depend on color and are Ready-to-Spray. Actual values could vary slightly due to manufacturing variability. RTS Combination Volume Ratio Percent solids (by weight) Percent solids (by volume) VOC Actual (g/L) VOC Actual (lbs/gal) VOC Regulatory (less water less exempt) ) (g/L) 1 / 1 8. 6% 7.1% 736 6.14 769 VOC Regulatory (less water less exempt) (lbs/gal) Percent acid (by weight) Photo-chemically reactive 6.42 0.67% No Product Information Effective 10/2015 CPCPB711 Technical Data Sheet PLC-900 Wash Primer Always Check for an Updated Copy at www.ppgcommercialcoatings.com PLC-900 Directions for Use Substrate Preparation: The surface to be coated must be free of all contamination (including dust, dirt, oil, grease, and oxidation). A chemical treatment (or conversion coating) will improve adhesion and performance properties of the finished coat. Variability can occur with substrates, preparation, application method or environment. We recommend that adhesion and system compatibility be checked prior to full application. Metal Direct to Substrate Cold Rolled Steel Excellent Hot Rolled Steel Excellent Galvaneal Excellent Galvanized Good Aluminum Excellent Plastic / Fiberglass Surface should be free of all contamination. Because of the variability of plastic/fiberglass substrates, coating performance should be confirmed on the actual plastic/fiberglass substrate being used. Best performance is achieved by using an approved CPC two-component urethane primer over PLC-900 Wash Primer before topcoating. Mix Directions: Mix Directions Thinning: Blend Ratio: Mix thoroughly prior to and occasionally during spraying. Mix equal parts by volume of Wash Primer component A (PLC-900) and Wash Primer Catalyst-component B (PLC-901). None required PLC-900 : PLC901 1 : 1 Pot Life @ 77°F (25°C): 8 hours after mixing Spray Viscosity Range: #2 Zahn 20 – 22 seconds Shelf Life: PCL-900 - 4 years unopened; 4 years opened PCL-901 - 6 years unopened; 2 years opened Application Equipment: Conventional (with or 1.2 – 1.4mm tip without pressure pot, without pressure pot): 1.0 – 1.2 tip with pressure pot: 35 – 45 psi at gun. HVLP (with or without 1.2 – 1.4mm tip without pressure pot, 1.0 – 1.2 tip with pressure pot: pressure pot): 10 psi at cap or per manufacturer. Airless: Not Recommended Air-Assisted Airless: Not Recommended Brush or Roll: Not Recommended Electrostatic: Not Recommended Application: Apply: Recommended Wet Film Build: Recommended Dry Film Build: Square Foot Coverage no loss: Air Dry @ 77°F 50% RH: To Touch To Handle To Recoat* To Topcoat* Force Dry @ 160°F: 2 medium coats with a 10 – 15 minute flash between coats. N/A 0.2 – 0.4 mils 82 sq. ft. @ 1 mil: 205 sq. ft. @ 0.4 mils Dry Times: 5 minutes 20 minutes 15 minutes to 16 hours 30 minutes to 16 hours N/A * Only apply this product when the 16 hour time to topcoat/recoat can be followed. This product contains chrome and should not be abraded or sanded due to the risk of harmful dust being generated. Page 2 CPCPB711 Always Check for an Updated Copy at www.ppgcommercialcoatings.com PLC-900 Technical Data* Performance Properties: ASTM Method Result Adhesion In Service Temperature Limit D3359 5B 150°F Weather Resistance: ASTM Method D2247 D3359 D3359 D3359 Result 5 Minute Recovery Adhesion 1 Hour Recovery Adhesion 24 Hour Recovery Adhesion 5B 5B 5B All tests results assume proper cure and preparation of test substrates. Unless otherwise stated, all results were obtained spraying product direct to metal on Cold Rolled Steel. * The application and performance property data above are believed to be reliable based on laboratory findings. It is for the buyer to satisfy itself on the suitability of the product for its particular use. Variation in environment, procedures of use, or extrapolation of data may cause unsatisfactory results. Page 3 CPCPB711 Always Check for an Updated Copy at www.ppgcommercialcoatings.com Wash primer applied to all elements as a surface pre-treatment to ensure optimal topcoat performance - 99 - Coating Step 2 Three-step coating system Epoxy primer applied to all elements to ensure excellent adhesion and chemical resistance and outstanding corrosion protection CPCPB418 2.1 VOC Corrosion Resistant Epoxy Primers CRE-121 White Epoxy Primer CRE-X21 Series Primers CRE-321 Gray Epoxy Primer CRE-921 Black Epoxy Primer CRE-2xx Tintable* The CRE-X21 Series Primers provide a range of performance features that include excellent adhesion and chemical resistance and outstanding corrosion protection when applied over properly prepared steel and aluminum. At 2.1 lbs/gal VOC as blended or when further reduced with exempt solvents, this series is lead and chrome-free and offers high build properties. Its excellent sag resistance and fill properties make this primer well suited for application over a sandblasted profile. Note: For acceptable compatibility between this primer and CPC topcoats please see the CPC Primer/Topcoat compatibility chart (CPCTB01). Features and Benefits: · Capable of high film build · Provide excellent adhesion · Provide strong corrosion and chemical resistance · Are plural component capable · CRE standard primers can be intermixed · *Tintable version is tinted with 7 ounces of H series tints · May be used over ZNP Series zinc rich primers Associated Products: to create custom colors. · CRE-121 2.1 VOC White Epoxy Primer · CRE-321 2.1 VOC Gray Epoxy Primer · CRE-921 2.1 VOC Black Epoxy Primer · CRE-2xx 2.1 VOC Tintable Epoxy Primer · CRE-211H Catalyst for CRE-X21 Primers · Exempt Solvent: Q30 - Acetone · Non-Exempt Solvents*: Q50 - Aromatic 100, Q60 - MEK, Q70 - MAK, Q80 - Xylene, Q160 - Aromatic 150 * Addition results in VOC greater than 2.1 lbs/gal Physical Constants: All values are theoretical, depend on color and are Ready-to-Spray. Actual values could vary slightly due to manufacturing variability. RTS Combinations: Volume Ratio: Applicable Use Category VOC Actual VOC Regulatory (less water less exempt) Density Volatiles wt. % Water wt. % Exempt wt. % Water vol. % Exempt vol. % Flashpoint: CRE-121 = 65°F (18°C) CRE-2xx = 65°F (18°C) Q30 = 4°F (-6°C) Q50 = 106°F (41°C) CRE-321 = 65°F (18°C) CRE-211H = 59°F (15°C) Q60 = 21°F (6°C) Q70 = 102°F (39°C) CRE-921 = 65°F (18°C) Q80 = 81°F (27°C) Q160 = 145°F (63°C) Product Information Effective 7/2013 CPCPB418 Technical Data Sheet CRE-X21 Always Check for Updated Copy at www.ppgcommercialcoatings.com CRE-X21 Series Primers Directions for Use Substrate Preparation: The surface to be coated must be abraded or sandblasted and free of all contamination (including dust, dirt, oil, grease and oxidation). A chemical treatment (or conversion coating) will improve adhesion and performance properties of the finished coat. Variability can occur with substrates, preparation, application method or environment. We recommend that adhesion and system compatibility be checked prior to full application. * It is recommended that the substrate be cleaned with SSPC-SPC2 Hand Tool or SSPC-SPC3 Power Tool clean Minimum. For best performance, a minimum blast of SSPC-SP6 (NACE#3), Commercial Blast Cleaning is recommended. Mix Directions: Mix Directions Thinning: Blend Ratio Thoroughly agitate component A on mechanical shaker prior to mixing. Stir thoroughly before and occasionally during use. To maintain 2.1 VOC, Q30 (Acetone) or other exempt solvents may be used. To achieve 2.8 VOC, ½ part of Non-Exempt Solvent may be used. When applying with airless equipment reduction may not be necessary. CRE-X21 : CRE-211H : Optional Regular or Exempt Solvent 2 : 1 : ½ Pot Life @ 77°F (25°C): 2 hours when reduced with any approved exempt or non-exempt solvent Spray Viscosity Range: #3 Zahn = 10 – 20 seconds Shelf Life: (each CRE-X21- 4 years in gallon containers, 2 years in 5-gallon containers component unopened) CRE-211H Catalyst - 2 years Application Equipment: Conventional (with or without pressure pot): 1.4 – 1.8 mm needle/nozzle with 50 – 70 psi at the gun HVLP (with or without pressure pot): 1.3 – 1.6 mm needle/nozzle with 10 psi at cap or per manufacturer Airless: Air-Assisted Airless: Brush or Roll: Application: Electrostatic: Apply: 0.013 – 0.017 tip with a fluid pressure of 2000 – 2400 psi 0.013 – 0.017 tip with a fluid pressure of 1520 – 1800 psi with 25 – 30 psi air pressure Apply blended CRE-2XX and CRE-X21 using a high quality natural bristle brush or with a 3/8 solvent resistant nap roller, rolling in one direction. CRE may be reduced 10 – 15% with the slower evaporating Q-code solvents for ease of leveling and flow. * Use of these solvents will result in a blended VOC greater than 2.1 lbs/gal. Minimum 1.5 mm tip with recommended reduction ratio using Q30, Q60 or Q70 solvent. 1 – 2 wet coats with a 10 – 15 minute flash between coats. Apply only when air, product and surface temperatures are above 60°F (16°C) and when surface temperature is at least 5°F (3°C) above the dew point. CRE-X21 : CRE-211H CRE-X21 : CRE-211H : Exempt Solvent Recommended Total Wet Film Build: 3 – 13 mils 4 – 15 mils Recommended Total Dry Film Build: 2 – 8 mils 2 – 8 mils Square Foot Coverage @ 1mil no loss: 973 – 1007 sq. ft. 834 – 863 sq. ft. (dependent on color) (dependent on color) Dry Times: Air Dry @ 77°F (25°C) 50% RH*: To Touch To Handle To Recoat To Topcoat 90 – 120 minutes 2 – 3 hours* 1 hour – 4 days. After 4 days the primer must be sanded before recoating. 1 hour – 4 days. Medium to full wet coats should be applied. After 4 days, the primer must be sanded before topcoating. This CRE primer may be recoated with itself up to 2 weeks after initial application without sanding as long as the primer remains free of contaminants. Primed surface may be cleaned with an appropriate CFX cleaner if necessary before topcoating. Force Dry @ 140°F (60°C): 40 minutes at 140°F (60°C) after 15 minute flash at 77°F (25°C) * Paint film is not fully cured for 7 days. Drying time varies, depending upon film build, color selection, temperature, humidity and degree of air movement. Page 2 CPCPB418 Technical Data Sheet CRE -X21 Always Check for Updated Copy at www.ppgcommercialcoatings.com CRE-X21 Series Primers Technical Data* Performance Properties: Complete paint system, including appropriate topcoat, dry temperature limit = 300°F. (149°C). In Service Temperature Limit If the in-service part has primer only, the color of the primer will change as you approach 300°F. Primer integrity will be maintained up to 300°F. If the primed part has been exposed to elevated temperatures for any extended period of time, the part must be cleaned and sanded prior to topcoating. Technical Properties: BONDERITE® 1000 CRE-321 No Topcoat Pencil Hardness Adhesion Chip Resistance ASTM Method D3363 D3359 D3170 Results F 5B 6 Chemical Resistance: Bonderite 1000 CRE-321 No Topcoat Toluene 10% NaOH (Sodium Hydroxide) 10% HCl (Hydrochloric acid) 10% H2SO4 (Sulphuric acid) Gasoline Isopropanol Water** ASTM Method D1308 D1308 D1308 D1308 D1308 D1308 D1308 Result Very Slight Ring Pass Slight gloss loss Moderate gloss loss Pass Pass Pass ** Although resistant to intermittent exposure, this product is not recommended for immersion. Weather Resistance: ASTM Method B117 D1654 D714 D714 Result Salt Spray System: Blasted Hot Rolled Steel CRE-321 AUE-300 Urethane Corrosion Creep*** Scribe Blisters Face Blisters *** Results based upon 4 – 5 mils DFT. 5 Minute Recovery Adhesion 1 Hour Recovery Adhesion 24 Hour Recovery Adhesion 9A 4F None Humidity System: Bonderite 1000 CRE-321 AUE-300 Urethane D2247 D3359 D3359 D3359 5B 5B 5B All tests results assume proper cure and preparation of test substrates. Unless otherwise stated, all results were obtained spraying product direct to metal on Bonderite 1000. * The application and performance property data above are believed to be reliable based on laboratory findings. It is for the buyer to satisfy itself on the suitability of the product for its particular use. Variation in environment, procedures of use, or extrapolation of data may cause unsatisfactory results. Page 3 CPCPB418 Technical Data Sheet CRE-X21 Always Check for Updated Copy at www.ppgcommercialcoatings.com CRE-X21 or CRE-2xx w/tint CRE-X21 or CRE-2xx w/tint : CRE-211H CRE-X21 or CRE-2xx w/tint : CRE-211H : Q30 CRE-X21 or CRE-2xx w/tint : CRE-211H : Q50, Q60, Q70, Q80, Q160 Percent solids (by weight) 66.6 – 70.0 70.2 – 72.6 63.5 – 66.0 62.8 – 65.9 Percent solids (by volume) 53.4 – 56.5 60.7 – 62.8 52.0 – 53.8 52.0 – 53.8 HAPs (lbs/gallon of product) 1.1 1.0 1.0 1.9 Photo-chemically reactive Yes Yes Yes Yes CRE-X21 (Package) or CRE-2xx w/ tint CRE-X21 or CRE-2xx w/tint : CRE-211H CRE-X21 or CRE-2xx w/tint : CRE-211H : Q30 CRE-X21 or CRE-2xx w/tint : CRE-211H : Q60 As is 2 : 1 2 : 1 : 1/2 2 : 1 : 1/2 Primer Primer Primer Primer 194 – 222 g/L 197 – 216 g/L 169 – 185 g/L 284 – 312 g/L 1.62 – 1.85 lbs/gal 1.65 – 1.80 lbs/gal 1.42 – 1.55 lbs/gal 2.38 – 2.61 lbs/gal 244 – 277 g/L 229 – 249 g/L 229 – 249 g/L 321 – 352 g/L 2.04 – 2.31 1.91 – 2.08 1.91 – 2.08 2.68 – 2.94 1372 – 1461 g/L 1255 – 1315 g/L 1188 – 1239 g/L 1190 – 1253 g/L 11.45 - 12.19 lbs/gal 10.47 – 10.97 lbs/gal 9.91 – 10.34 lbs/gal 9.93 – 10.46 lbs/gal 30.0 – 33.4 27.4 – 29.8 34.0 – 36.4 34.1 – 37.2 0.3 – 0.8 0.2 – 0.6 0.2 – 0.6 0.2 – 0.6 15.4 – 17.8 11.4 – 13.0 19.5 – 21.1 10.2 – 11.8 0.4 – 1.2 0.3 – 0.8 0.3 – 0.7 0.2 – 0.7 17.3 – 20.8 11.5 – 13.8 24.1 – 26.1 9.9 – 11.9 Substrate Direct to Substrate Substrate Direct to Substrate Cold Rolled Steel Excellent Galvanized Aluminum Plastic / Fiberglass Excellent Excellent Surface should be free of all contamination. Because of the variability of plastic/fiberglass substrates, coating performance should be confirmed on the actual plastic/fiberglass substrate being used. Hot Rolled Steel Excellent Stainless Steel Excellent Galvaneal Excellent - 100 - Coating Step 3 Three-step coating system AUE-300 Directions for Use Substrate Preparation: The surface to be coated must be sanded and free of all contamination (including dust, dirt, oil, grease, and oxidation). Chemical treatment and the use of a conversion coating will improve the performance properties of the coating system. We recommend that adhesion and system compatibility be checked prior to full application. Substrate Direct to properly treated substrate Cold Rolled Steel Refer to CPCTB01 for approved primers. Hot Rolled Steel Refer to CPCTB01 for approved primers. Galvaneal Refer to CPCTB01 for approved primers. Galvanized Refer to CPCTB01 for approved primers. Aluminum Refer to CPCTB01 for approved primers. Plastic / Fiberglass Surface should be free of all contamination. Because of the variability of plastic/fiberglass substrates, coating performance should be confirmed on the actual plastic/fiberglass substrate being used. Note: For improved performance between this topcoat and CPC primers please see the CPC Primer/Topcoat compatibility chart (CPCTB01). Mix Directions: Blend Ratio: Pot Life @ 77°F: AUE-300/ AUE-300/ AUE-300/ AUE-300/ AUE-300/ AUE-301 AUE-3501 GXH1086 GXH1080 UH-511 3:1+ 5:1+ 4:1+ 4:1+ 5:1+ 6oz UA-11 6oz UA-11 6oz UA -11 6oz UA-11 6oz UA-11 2 – 2.5 hours 1 – 1.5 hours 1 – 1.5 hours 1 – 1.5 hours 2 – 2.5 hours Spray Viscosity Range: #3 EZ Zahn #3 EZ Zahn #3 EZ Zahn #3 EZ Zahn #3 EZ Zahn 13 – 16 seconds 15 – 20 seconds 15 – 20 seconds 15 – 20 seconds 15 – 20 seconds Reducers: Not recommended in VOC compliant areas. In non-regulated areas, up to 10% of Q70 (MAK), Q50 (Aromatic 100), or Q160 (Aromatic 150) without Pressure Pot): 1.4 – 1.8 mm needle/nozzle with 50 – 70 psi at the gun HVLP (with or without Pressure Pot): 1.3 – 1.6 mm needle/nozzle with 10 psi output at the gun Airless: No Recommendation Air-Assistd Airless: No Recommendation Brush or Roll: Not Recommended Electrostatic: Product may need to be reduced with solvent for improved electrostatic application in non-regulated areas. Application: Apply: 1 – 2 medium coats with 10 – 15 minute flash. Apply only when air, product, and surface temperature are above 50°F (10°C) and when surface temperature is at least 5°F (3°C) above the dew point. AUE-300/ AUE-300/ AUE-300/ AUE-300/ AUE-300/ AUE-301 AUE-3501 GXH1086 GXH1080 UH-511 Recommended Wet Film Build: 2.5 – 3.8 mils 2.3 – 3.5 mils 2.4 - 3.6 mils 2.4 – 3.7 mils 2.5 – 3.8 mils Recommended Dry Film Build: 1.5 – 2.0 mils 1.5 – 2.0 mils 1.5 – 2.0 mils 1.5 – 2.0 mils 1.5 – 2.0 mils Square Foot Coverage @ 1.0 mil no loss: 842 – 947 sq. ft. 907 – 1029 sq. ft. 887 – 1000 sq. ft. 867 – 982 sq. ft. 851 – 969 sq. ft. Dry Times: Air Dry @ 77°F 50% RH: Dry to Touch 1 hour Dry to Handle 4 hours* To Recoat Up to 4 days Force Dry: After 10 minute flash: 10 minutes @ 180°F 20 minutes @ 140°F 30 minutes @ 120°F * Paint film is not fully cured for 7 days. Drying time listed may vary, depending upon film build, color selection, temperature, humidity and degree of air movement. Page 2 CPCPB216 AUE-300 Technical Data* Performance Properties: ASTM Method Results Pencil Hardness D3363 HB – F Mandrel D522 Pass Chip Resistance D3170 8 Gloss @ 60º Angle D523 85 – 95 Adhesion D3359 5B In Service Temperature Limit 300°F ** As you approach 300°F depending on the pigmentation, the color may change, but the film integrity will be maintained up to 300°F. Chemical Resistance: Toluene 10% NaOH (Sodium Hydroxide) 10% HCl (Hydrochloric acid) 10% H2SO4 (Sulphuric acid) Gasoline White AUE-300 Medium Ring, Blister Medium Ring, Blister Pass Pass Mild Stain, Yellowing Black AUE-300 Medium Ring, Blister Pass Pass Pass Medium Ring, Stain Although resistant to intermittent exposure, not recommended for immersion. Weather Resistance: ASTM Method B117 D1654 D714 D714 D2247 White AUE-300 Black AUE-300 Corrosion Creep Scribe Blisters Face Blisters 10A 8F None 10A 8F None 5 Minute Recovery Adhesion D3359 Method A 4A – 5A 4A – 5A 200 hour retention 500 hour retention 200 hour retention 500 hour retention D4587 D523 D523 D4587 D523 D523 95.5% 96.9% 97.0% 94.3% 89.6% 81.0% 91.1% 71.5% All tests results assume proper cure and preparation of test substrates. Unless otherwise stated, all results were obtained spraying product direct to metal on Bonderite 1000. * The application and performance property data above are believed to be reliable based on laboratory findings. It is for the buyer to satisfy itself on the suitability of the product for its particular use. Variation in environment, procedures of use, or extrapolation of data may cause unsatisfactory results. Miscellaneous: Page 3 CPCPB216 Industrial two-part polyeurethane enamel paint on all elements for excellent chemical and corrosion resistance as well as superb impact, mar, and abrasion resistance. This coating is notable for the high-end aesthetic glossy finish it achieves, but equally important, it is most often used on heavy machinery and large infrastructure (ie, bridges) where top performance in demanding environments is required. can be added. In regulated areas, Q30 (Acetone) can be used Isopropyl Alcohol Medium Ring, Blister Medium Ring, Blister Application Equipment: Conventional (with or Water Pass Pass CPCPB216 Acrylic Polyurethane Enamel AUE-300 AUE-300 Low VOC Polyurethane Enamel is recommended for interior and exterior use on properly prepared and or primed metal surfaces. Example applications include metal fabrication, castings, cabinets, machinery, and heavy equipment. AUE-300 Low VOC Polyurethane Enamel is an easy-to-spray topcoat providing a range of performance properties including excellent chemical and corrosion resistance as well as superb impact, mar, and abrasion resistance. Features and benefits: · Smooth film with minimal orange peel and excellent gloss/DOI · 3.5 VOC Polyurethane (ready to spray) · Shares catalyst with other urethane products Associated Products: · Excellent corrosion and chemical protection · AUE-300 Low VOC Polyurethane Enamel · AUE-301 Catalyst For AUE-300 · AUE-3501 Urethane Hardener · GXH1086 Urethane Hardener · GXH1080 Urethane Hardener · UH-511 Polyurethane Primer / Topcoat Hardener Physical Constants: All values are theoretical, depend on color and are Ready-to-Spray. Actual values could vary slightly due to manufacturing variability. · UA-11 Urethane Accelerator Flashpoint AUE-300 only = 99°F, AUE-301 only = 102°F, AUE-3501 only = 355°F GXH1086 only = 102°F, GXH1080 only = 81°F, UA -11 only= 96°F, UH -511 only = 80°F Product Information Effective 12/09 AUE-300 w/tints AUE-300/ AUE-301 (RTS) AUE-300/ AUE-3501 (RTS) AUE-300/ GXH1086 (RTS) AUE-300/ GXH1080 (RTS) AUE-300/UH-511 (RTS) Percent solids (by weight) 58.4 – 75.6% 58.8 – 71.9% 62.6 – 76.2% 61.5 – 74.8% 60.3 – 73.8% 59.2 – 73.5% Percent solids (by volume) 52.1 – 61.3% 52.4 – 59.1% 56.6 – 64.2% 55.2 – 62.4% 54.0 – 61.3% 53.1 – 60.4% HAPs 0.1 lbs/gal 0.1 lbs/gal 0.1 lbs/gal 0.1 lbs/gal 0.1 lbs/gal 0.3 lbs/gal Photo-chemically reactive No No No No Yes Yes RTS Combinations: AUE-300 w/tints AUE-300 w/tints : AUE-301 : UA-11 AUE-300 w/tints : AUE-3501 : UA-11 AUE-300 w/tints : GXH1086 : UA-11 AUE-300 w/tints : GXH1080 : UA-11 AUE-300 w/tints : UH-511 : UA-11 Volume Ratio As is 3 : 1 : 6 oz/rts gal 5 : 1 : 6 oz/rts gal 4 : 1 : 6 oz/rts gal 4 : 1 : 6 oz/rts gal 5 : 1 : 6 oz/rts gal Applicable Use Category Single-Stage Ctg Single-Stage Ctg Single-Stage Ctg Single-Stage Ctg Single-Stage Ctg Single-Stage Ctg VOC Actual 331 – 422 (g/L) 356 – 419 (g/L) 308 – 380 (g/L) 326 – 395 (g/L) 339 – 409 (g/L) 343 – 417 (g/L) 2.75 – 3.52 (lbs/gal) 2.98 – 3.52 (lbs/gal) 2.57 – 3.17 (lbs/gal) 2.72 – 3.30 (lbs/gal) 2.83 – 3.41 (lbs/gal) 2.86 – 3.48 (lbs/gal) VOC Regulatory 331 – 422 (g/L) 356 – 419 (g/L) 308 – 380 (g/L) 325 – 395 (g/L) 339 – 408 (g/L) 344 – 417 (g/L) (less water less exempt) 2.76 – 3.52 (lbs/gal) 2.97 – 3.50 (lbs/gal) 2.57 – 3.17 (lbs/gal) 2.72 – 3.31 (lbs/gal) 2.83 – 3.41 (lbs/gal) 2.87 – 3.48 (lbs/gal) Density 1008 – 1382 (g/L) 1015 – 1279 (g/L) 1032 – 1329 (g/L) 1023 – 1310 (g/L) 1022 – 1309 (g/L) 1014 – 1315 (g/L) 8.40 – 11.52 (lbs/gal) 8.46 – 10.66 (lbs/gal) 8.60 – 11.08 (lbs/gal) 8.53 – 10.92 (lbs/gal) 8.52 – 10.91 (lbs/gal) 8.46 – 10.96 (lbs/gal) Volatiles wt. % 24.4 – 41.6 28.2 – 41.2 23.5 – 36.6 25.3 – 38.5 26.2 – 39.7 26.5 – 40.8 Water wt. % 0 – 0.2 0 – 0.2 0 – 0.2 0 – 0.2 0 – 0.2 0 – 0.2 Exempt wt. % 0 0 0 0 0 0 Water vol. % 0 – 0.3 0 – 0.2 0 – 0.2 0 – 0.2 0 – 0.2 0 – 0.2 Exempt vol. % 0 0 0 0 0 0 1 Hour Recovery Adhesion D3359 Method A 4A – 5A 4A – 5A 24 Hour Recovery Adhesion D3359 Method A 4A – 5A 4A – 5A - 101 - Budget Artwork Totals Stakeholder Purpose Subtotals Description Large Eggs $ 85,300 CKJJ Artist fee $ 17,500 Concept, development, administration, coordination, technical drawings, fabrication and installation supervision Punchclock Preparation Fabrication 2,500 45,000 Designing the buck positives and drawing the patterns of curved rebar, designing the mounting fixtures, artist consultation with mockups and engineering stamp Steel rebar, templates, forming, welding 5,700 Epoxy primer under two-part polyurathane paint, with spot detailed colouring, 4 colours total Installation 4,100 Transportation and installation City Contingency 10,500 Small Eggs $ 71,200 CKJJ Artist fee $ 14,500 Concept, development, administration, coordination, technical drawings, fabrication and installation supervision Punchclock Preparation Fabrication 2,000 37,200 Designing the buck positives and drawing the patterns of curved rebar, designing the mounting fixtures, artist consultation with mockups and engineering stamp Steel rebar, templates, forming, welding 4,700 Epoxy primer under two-part polyurathane paint, with spot detailed colouring, 4 colours total Installation 4,100 Transportation and installation City Contingency 8,700 Medium Eggs $ 78,000 CKJJ Artist fee $ 16,000 Concept, development, administration, coordination, technical drawings, fabrication and installation supervision Punchclock Preparation Fabrication 2,200 41,000 Designing the buck positives and drawing the patterns of curved rebar, designing the mounting fixtures, artist consultation with mockups and engineering stamp Steel rebar, templates, forming, welding 5,100 Epoxy primer under two-part polyurathane paint, with spot detailed colouring, 4 colours total Installation 4,100 Transportation and installation City Contingency 9,600 - Miscellaneous n/a n/a n/a n/a n/a Artist travel (site visits, stakeholder meetings, production visits, installation) - included in artist fee Studio space - included in artist fee and fabrication costs Engineering - included in fabrication costs Insurance (during production & installation) - included in fabrication and installation costs and artist fees Foundations (helical piers or concrete pads) - to be provided by City $ 234,500 Subtotal 5,500 Difference to overall budget (to be used for community engagement programming or added to the contingency) $ 240,000 Total, excluding HST Summary $ 48,000 CKJJ Artist Fees (20% of budget) 157,700 Punchclock Fabrication and installation 28,800 City Contingency (15% of budget minus artist fee) 5,500 Community engagement programming or additional contingency $ 240,000 - 102 - Fabrication Quote SUB Punchclock Metalworks Inc. 530 Keele St. Unit 403 Toronto ON M6N 3C9 (416)953-9507 info@punchclockmetal.com www.punchclockmetal.com GST/HST Registration No.: 8016288 43 RT0001 Business Number 801628843 ADDRESS Coryn Kempster Coryn Kempster & Julia Jamrozik ESTIMATE # 572 DATE 06-06-2023 EXPIRATION DATE 06-07-2023 DATE ACTIVITY ACTIVITY AMOUNT designing and drawing the egg patterns , consulting with the artists . engineering stamp, 1 @ $6,700.00 Sales 6,700.00 Fabricate sculpture #1. 3 large eggs, 3 @ $15,000.00 Sales 45,000.00 Fabricate scuplture #2 . 5 medium eggs, 5 @ $8,200.00 Sales 41,000.00 fabricate sculpture #3. 12 small eggs, 12 @ $3,100.00 Sales 37,200.00 Epoxy primer under a 2 part polyurethane paint (PPG300aue), 1 @ $15,500.00 Sales 15,500.00 transportation and installation (3 dates), 3 @ $4,100.00 Sales 12,300.00 TOTAL 157,700.00 - 103 - Potential for Community Engagement While the “Call for Concepts” document does not request community engagement as part of the process of creating the public artworks at the Rotary Frenchman’s Bay West Park, we believe it would be worthwhile to include engagement activities associated with the artwork. Involving members of the community to share in the process of creating a home for the art and promoting the educational agenda of the works, we could imagine walking tours focusing on the birds of the area or workshops about the different species that inhabit this area. These could be hosted to coincide with the unveiling of the artworks or be scheduled throughout the year before or after. We would be happy to collaborate with local experts and organizations to create a forum for them to share their expertise on the subject matter. Further we would be eager to engage with children (and interested people of all ages) in hand-on events that could include colouring or painting eggs or other tactile and creative activities. We have conducted workshops in the past for other public art projects with elementary school students in Lyndonville, New York and high school students in Buffalo, New York and we find the experience mutually enriching and engaging. The workshop activities give the participants an opportunity to create genuine curiosity about the processes of art- making and fabrication. Further bringing community members closer to the artwork and its motivations allows them to become advocates for the work once it is installed. We would encourage the city of Pickering to consider funding these additional activities. Students from Lyndonville, New York participating in a series of workshops leading up to the creation of ‘Nooks’ a public artwork we produced for their school in 2019 - 104 - Julia Jamrozik and Coryn Kempster www.ck-jj.com 71 Parkway Ave Toronto, Ontario julia@ck-jj.com 647 385 5785 coryn@ck-jj.com 647 869 3910 “Eggs of North American birds, natural sizes” American Lithographic Co. 1902 - 105 - Rotary Frenchman's Bay West Park Public Art Intersections: A proposal for the City of Pickering Submitted by Suzanne Simoni suzanne@suzannesimoni.com www.suzannesimoni.com (416) 709-4559 June 7, 2023 - 106 - Intersections 2 Land Acknowledgement We're grateful to be on land within the Treaty and traditional territory of the Mississaugas of Scugog Island First Nation and Williams Treaties signatories of the Mississauga and Chippewa Nations. This proposal acknowledges our responsibilities to our relationships with the First Peoples of Canada, and to the ancestral lands, waters, and sky where we share, work and live. Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com - 107 - Intersections 3 Table of Contents Artist Statement 4 Sculptures: Site 1 and 3 Wayfinding 6 Site 2 Squirrel and Acorn 7 Site 4 Monarch and Milkweed 8 Site 5 Frog and Dragonfly 9 Site 6 Deer and Red-winged Blackbird 10 Site 7 Snail and Maple Key 11 Site 8 Wind Vane: Great Blue Heron and Daphnia 12 Fabrication 13 Timeline 14 Budget 15 Maintenance Schedule 16 Attachment: Lafontaine Iron Werks Quote Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 17 T,\4' - 108 - Intersections 4 Artist Statement Strung along the shores of Lake Ontario, a proposed series of artworks invites the public to engage with with the plants and animals that live in Rotary Frenchman's Bay West Park. The sense of arrival at both entrances to the park is animated by wayfinding columns fabricated in the outline of the map of Rotary Frenchman's Bay West Park. Inscribed on the columns is a map with a locating label to position and guide visitors through the park. Carved out of the columns are the shapes of sculptures that reference six pairs of species represented in the balance of the artworks. Continuing along the park path, visitors encounter tactile sculptures referencing local plants and animals, such as Deer and Red-winged Blackbird, that articulate the cohesive theme of interconnection. The public can playfully engage with a series of site-specific accessible installations built of stainless steel plates welded at right angles. Each surface depicts species that appear to pass through each other. The artworks represent species that impact each other, intersecting metaphorically and physically. Suza·nne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com - 109 - Intersections 5 Artist Statement continued As the public journeys through the site, the theme of interconnection builds through sculpture and story. The integrated installations ranging in height from three to ten feet are inscribed with stories that express relationships between species such as Frog and Dragonfly. Inscribed along the circumference of the artworks, the stories create an interactive haptic approach as visitors linger to read the narrative and walk around the perimeter of each sculptur e to complete the conversation. The installations generate discussions for a diversity of visitors and for cross-curricular outdoor classrooms regarding the complexity of all living beings, both human and non-human. A social benefit of storytelling as a foundation of culture is opening portals of understanding and empathy. This can shape an appreciation of the interdependence of all living things and the spawning of communities that are more protective of their surroundings. Narratives written by Simoni are based on multiple visits to the site, extensive research, consultations with the City of Pickering, the Toronto and Region Conservation Authority, and local residents. Built on a foundation of research, the narratives recontextualize relationships with nature by dramatizing situations from the perspective of local species such as Squirrel and Acorn. Along the path visitors can trace stories of six species pairs, concluding at the mouth of Frenchman's Bay Harbour. Framed by the lake and bay, Great Blue Heron and Daphnia with a Large-mouth Bass respond to the breeze as a weather vane. Referencing the history of Frenchman's Bay Harbour, the installation responds to the winds where sailing ships docked to transport merchandise from the gr ain elevator. The weather vane would be visible to those engaging in local water activities, and the installation another opportunity for conversation between visitors and the landscape. It is our pleasure to propose Intersections, a series of playful public art activations engaging the diverse community that enjoys the park, and expressing vital interconnections that make us stronger. Suza·nne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com - 110 - Intersections 6 Site 1 and 3: Wayfinding columns 8' Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 3' Site 1 Wayfinding �I 3' Site 2 Wayfinding - 111 - Intersections 7 Site 2: Squirrel and Acorn Squirrel and Acorn narrative Oak noticed squirrel scampering up its trunk and murmured, "You're not going to eat all my acorns, are you?" Squirrel jumped. "Of course not!"... but thought, "Hmm...l wonder how many I can eat and save for the winter." Oak was worried and sent a message on the Wood Wild Web. Mama Oak responded, "The rains have come, the sun has come .. there are acorns enough for all." In the spring acorns sprouted, tickling the forest floor. 5' 2.5' 5' 2.5' �I 'i Suz a·nne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com - 112 - Intersections Site 4: Monarch and Milkweed 8 c_ V• �I Monarch and Milkweed Narrative Milkweed tastes bitter , but it's Monarch caterpillar's favourite food. "You're eating my leaves!" "That's so I can come back and pollinate your flowers." "But...caterpillars can't fly." Caterpillar wriggled its black and white and yellow body.. Over the summer, Milkweed blossomed fragrant flowers and waited for visitors. Caterpillar coccooned and emerged as a Monarch butterfly. Monarch visited Milkweed and carried away pollen for other flowers. Milkweed nodded in the wind. -J. '-" <;> ,, leaves\ erpillars a/) _c,a,'t 1,, 2.5' 4' Suzan•ne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 1 ,9 "7;, "' ! - 113 - Intersections Site 5: Frog and Dragonfly Frog and Dragonfly narrative 9 .. '* Wiggling through the waters of the pond , Tadpole sees Dragonfly Nymph. "Don't eat me, I'm about to morph into Frog!" Nymph responds , "Hmm...l'm about to moult into Dragonfly." Summer dawns. Nymph unfurls gossamer wings and emerges as Dragonfly. Tadpole enjoys newfound limbs and hops out of the water as Frog. \Niggling through the 11< �te,...s- o,,..t! ?19 "°o OJ On a summer's day Frog lashes out a tongue as Dragonfly lands on a rock. "Don't eat me! I'm about to lay my eggs." "Hmm .. I'm also about to lay my eggs." Life begins again in the pond on an autumn day. 0 /.. Cf, ,.,,,.,,<:> -i;('e..._Q,e '3-"(\oe Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 4' 6' 6' 1 - 114 - Intersections Site 6: Deer and Red-winged Blackbird 10 Deer and Red-winged Blackbird narrative Red-winged blackbird fluffed out his red and yellow epaulets and scanned the forest floor for a snack of juicy bugs. "Hmm, slim pickings." Deer stopped nibbling on maple leaves and lifted her hoof to scratch and itch, but couldn't reach the critter on her back. Blackbird rose into the air and landed on deer 's back. In one place there were enough critters for a full meal. "This is a good restaurant!" Blackbird pecked at a buffet. Deer sighed with relief. 3.75' 4 Suzanne Simoni suzanne@suzannesimoni .comwww .suzan n*esimoni .c"om 5' 2.5' '4' - 115 - Intersections 11 Site 7: Snail and Maple Key Snail and Maple Key Narrative 'o/ Maple key opens to the day and looks for a way to dig through leaves into the earth. "Snail I've heard you like to eat leaves." Snail lumbers over leaves searching for a treat. "There's nothing better than a dead insect or a mouldy leaf." "Look at all the crunchy leaves here," said Maple key... "lfyou eat some, it will make good soil for me to root in." Snail feasted. Maple found its roots and grew into a tree. Years later Maple shared a feast of delicious mouldy leaves. 00 N 3' Suzanne Simoni suzanne@suzannesimoni .comwww .suza n*nesimoni .c"om 'I ,:.G' i/S'eG ,._>?> >?> ,e, ,s-0 ,f o \ o\ 'q oe'<l.U \\• .1· <;,eG 6' - 116 - Intersections 12 Site 8: Wind Vane Great Blue Heron and Daphnia Great Blue Heron and Daphnia narrative The smallest creature in the water , Daphnia swims with tiny legs . Daphnia sees the towering shadow of Great Blue Heron. "You frightened me!" Heron bows his head down to peer at Daphnia. "I hear you but I don't see you." "So you don't like to eat plankton like me?" "If I can't see you I can't eat you." Heron lifts his head and remains still, waiting for a fish to swim by. Daphnia thinks maybe this is going to be a good day. 10' 4' Suzanne Simoni suzanne@suzannesimoni.com www.suzannesimoni.com 2' 2.5' �I Wind vane 8',. -@ .<:;-:\ \'C' \\"\' v e ,0 'l>"' C, . , ':, Dapnn\'3s ! ! - 117 - Intersections 13 Timeline Spring 2024 Site 1 Site 3 Wayfinding Column at the entry to Rotary Frenchman's Bay West Park Wayfinding Column at the entry to Rotary Frenchman's Bay West Park Autumn 2024 Site 2 Site 6 Site 8 Squirrel and Acorn Deer and Red-winged Blackbird Great Blue Heron and Daphnia Wind Vane Upon approval of the budget, our team will require 3 - 4 Autumn 2025 months to fabricate and install artworks. Installation will occur on three separate occasions, contingent upon approval of the yearly budget. The order of installation will be determined in consultation with the City of Pickering. Site 4 Site 5 Site 7 Butterfly and Milkweed Dragonfly and Frog Maple Key and Snail flf Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com - 118 - Intersections 14 Fabrication The fabricator will produce shop drawings , liaise with the engineer, generate waterjet-cut stainless steel forms, inscribe narratives along the perimeter, weld, sand and grind the sculptures, create a glass bead matt finish texture and install sculptures over a period of three years. Engineering A PEng review and seal of shop drawings will assure public safety in consultation with the City of Pickering, Material 1/2" (or 3/4") T304 stainless steel with stainless anchor pins Inscription All sculptures are to be inscribed by laser or screenprint. Narratives are to be positioned along the perimeter of six sculptures. Twin wayfinding columns will be inscribed with a map of the site, including location labels. Installation Sculptures will be transported to the site and placed on existing footings provided by the City of Pickering using lifting equipment by insured installation labour. Epoxy and supplies for installation will be provided for installation of sculptures and plaques. As much as possible, species are matched to site location. A final position could be finalized after construction in consultation with the City of Pickering. Our team Of the public art fabricators that answered our RFQ, Lafontaine Iron Werks has fabricated multiple public artworks, including completing a collaboratation with Simoni on ThreeSidesOneGesture at Parkway Mall in Scarborough, as well as Digital Orea by Doug Coupland. Lafontaine is certified WSIB and has insurance of $5M liability. Infrastructure requirements Our infrastructure needs will require concrete bases. In consultation with the City of Pickering, planning, fabrication and installation will occur over a three-year period. Suza·nne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com flf - 119 - Intersections Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 15 Budget Budget per Sculpture Group (contingent on gage of stainless steel required and inflation over 3 years): Spring 2024 Two Wayfinding columns $80,000 Autumn 2024 Squirrel/Acorn, Deer/Blackbird, Heron/Daphnia $80,000 2025 Monarch/Milkweed, Frog/Dragonfly, Snail/Maple Key $80,000 Total: $240,000 Budget Allocations Fabrication* Shop drawings and management Fabrication: 1/2" thick T304 stainless steel, $15,138.91 x 8 Installation: $7,155 x 3 Engineering PEng review and seal Graphics inscription $1,200 per pc x 8 sculptures Sub-total Plaques** $4,800.00 $121,111.30 $21,465.00 $3,600.00 $9,600.00 $160,576.30 Brushed horizontal grain plaques 12" x 24"@ $225.00 x 8 $1,800.00 Artist fee 15% $36,000.00 .Contingency 17% $41,623.70 Total (excluding tax) $240,000.00 * Please see attachment #1 for quote by Lafontaine Iron Werks (project priced for both 1/2 " and 3/4" stainless steel, subject to engineer's evaluation. Quote above is for 1/2 " stainless steel) flf - 120 - Intersections Suzanne Simoni suzanne@suzannesimoni.comwww.suzannesimoni.com 16 Maintenance Schedule To clean the sculptures from everyday dirt and grime, the sculpture should be rinsed with mild soap and water once a year. Efforts have been made to propose a project of integrated works that require minimal maintenance. All materials are stainless steel, including sculptures and anchor pins, The matt glass bead finish produces a consistent streak-free surface and is used in many public applications from elevators to ships. flf - 121 - Suzanne Simoni May 29, 2023 Re: Pickering Project - Intersections Dear Suzanne; Thank you for the opportunity to quote your requirements for this project. I have quoted it based on ½” thick and ¾” thick T304 stainless steel. Please note, Lafontaine Iron Werks Inc. is registered with WSIB and carries a $5,000,000.00 liability policy which covers our work on projects such as this one. ½” thick Fixed costs -Shop drawings and management $4,800.00 x1 $4,800.00 Fabrication -1/2” T304 stainless -Stainless anchor pins -Waterjet cutting -Fitting and welding -Sanding, grinding & glass beading $15,138.91 ea. x8 $121,111.30 Installation -Foundations by others -Transport to site -Lifting equipment rental -Insured installation labor -Epoxy and supplies for installation $7,155.00 per x3 $21,465.00 Total for project based on ½” T304 Stainless $147,376.30 +HST Does not include graphics or Peng review and seal (continued) 17 - 122 - /2 3/4” thick Fixed costs -Shop drawings and management $4,800.00 x1 $4,800.00 Fabrication -3/4” T304 stainless -Stainless anchor pins -Waterjet cutting -Fitting and welding -Sanding, grinding & glass beading $17,518.37 ea. x8 $140,146.94 Installation -Foundations by others -Transport to site -Lifting equipment rental -Insured installation labor -Epoxy and supplies for installation $7,155.00 per x3 $21,465.00 Total for project based on 3/4” T304 Stainless $166,411.94 +HST Does not include graphics or Peng review and seal Other Items Engineering -Peng review and seal of shop drawings (Ontario) x1 $3,600.00 Graphics -Laser Etch or ink (TBD) $1,200.00 per x8 $9,600.00 All taxes extra Prices based on total contract awarded Deposits and progressive draws are required Subject to cost fluctuation over extended period of contract Assume minimum 3 to 4 months from acceptance of contract till first pieces could be ready Sincerely, Michael P. Bilyk 18 - 123 - Memo To: Cultural Advisory Committee June 9, 2023 From: Stoyan Barakov Coordinator, Public Art Copy: Acting Supervisor, Cultural Services Subject: Winter Nights, City Lights 2023 – Temporary Public Art Background: As part of the annual Winter Nights, City Lights event, The City of Pickering issued a Call to Artists: Request for Proposal (Attachment 1) asking artists and artist teams to submit proposals for light-based artwork. The work will be exhibited from November 24, 2023 to January 31, 2024. The Call was issued on May 25, 2023 and closed on June 12, 2023. Community Services received diverse submissions from artist around the province. The collected submissions were reviewed and scored by the Public Art Jury based on the judging criteria outlined in the Call to Artists – Requests for Proposals. The jury shortlisted 1 finalist who was presented to the Public Art Committee for endorsement. Based on the ranking of the Jury and the endorsement from the Public Art Committee, Nate Nettleton, was recommended as the Artist to be awarded the commission of temporary light-based public art as part of Winter Nights, City Lights 2023. The Artist application proposal is set out in Attachment 2. The Artist made the following statement: “The proposed project is an eye catching, interactive artwork consisting of a rotating tower of 6 large disco balls, encased in a 9’ x 3’ illuminated, multi-coloured acrylic prism. The focal point of the work is the illuminated disco ball – an object symbolically representative of celebration, endlessly rotating in a beacon of colour. The piece creates a space where the audience is immersed “within” the artwork - thousands of colourful lights dancing across surrounding surfaces, activating the space, and creating an interactive environment outside of the physical artwork itself. This artwork is meant to create joy, hope and optimism – encouraging exploration and interaction from it’s viewers.” - 124 - June 9, 2023 Page 2 of 2 Winter Nights, City Lights 2023 – Temporary Public Art Funding: There are $14,400 available in the Current Budget from where the temporary light-based public art will be paid for. The funding has been generated through sponsorship with Ontario Power Generation. Discussion: Currently, Community Services request that the Cultural Advisory Committee endorse the commission of temporary light-based public art as part of Winter Nights, City Lights 2023 be awarded to Nate Nettleton in the amount of $14,400 (HST included). Attachment 1: Call to Artists – Winter Nights, City Lights 2023 (RFP) Attachment 2: Artist Proposal - Nate Nettleton - 125 - 1 CALL TO ARTISTS – Request for Proposals (RFP) Winter Nights City Lights 2023 Deadline: Monday, June 12, by 11:59 p.m. EDT Photo from Winter Nights, City Lights 2022 Artist Opportunity The City of Pickering invites artists or artist teams to submit proposals for light-based artwork to be a part of Winter Nights, City Lights 2023. Winter Nights, City Lights will take place between November 24, 2023 to January 31, 2024 and will feature a diverse range of outdoor light art installations inside Esplanade Park. The installations will transform the park by providing visibility and create a sense of joy and excitement for residents and visitors. Eligibility 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. Priority will - 126 - 2 be given to local Durham Region artists; however, we will consider all including national and international artists. Project Brief Winter Nights, City Lights is an outdoor event that marks the start of the winter season at Esplanade Park and in the City of Pickering. The event includes the lighting of the seasonal décor for the first time each year. We are seeking proposals for light-based artworks, preferably existing, and can be either a sculpture, installation, multimedia, or projections that can withstand the harsh outdoor winter conditions and activate the space at dusk. The work must remain on site from November 24, 2023 to January 31, 2024 and require minimum maintenance. Winter Nights, City Lights 2023 is sponsored by Ontario Power Generation (OPG) and Elexicon Energy. Site Context The City of Pickering resides on land within the Treaty and traditional territory of the Mississaugas of Scugog Island First Nation and Williams Treaties signatories of the Mississauga and Chippewa Nations. Winter Nights, City Lights takes place inside Esplanade Park located at One The Esplanade, Pickering, ON L1V 6K7, right in Pickering’s City Centre. Esplanade Park is used as the main grounds for many community events, including the signature winter event running November 24 and 25. 2023. Site plan of Esplanade Park - 127 - 3 We are looking to award one (1) artist/ artist team as part of Winter Nights, City Lights. The award for this temporary public art opportunity is $14,400 inclusive of HST. * *The fee encompasses: artist fees, technical consultation, travel to site for visits and meetings, purchase and/or rental of relevant materials and equipment, insurance, production and installation of artwork as well as maintenance plan. Anticipated Schedule Winter Nights City Lights will take place outdoors throughout Esplanade Park between November 24, 2023 and January 31, 2024. Esplanade Park is a park that is open and accessible to everyone. It would be preferable to have artworks that can be illuminated through a timer. It is expected that the commissioned artist(s) will comply with the project’s general timeline dates, as stated below: Date* Project Phase May 24, 2023 Issue Call to Artists – Request for Proposals June 12, 2023 by 11:59 p.m. EDT Submissions Due June 21, 2023 Selected Artist/Teams notified Agreement is signed July 2023 Exact site confirmation Technical Design Review July to November 2023 Fabrication Week of November 20, 2023 Artwork installation November 24, 2023 Winter Nights, City Lights 2023 Opening Ceremony and Event February 1, 2024 Artwork Removal *Schedule is subject to change Technical Specifications Design Considerations: 1. This call is targeting light-based artworks suitable for outdoor winter weather – including but not limited to: sculpture, installation, multimedia and projections. 2. The work must promote interaction, passive participation. 3. The work must be inclusive, engaging and create a feeling of joy. 4. Submissions must consider the length of time (November 24, 2023 to January 31, 2023) including installation and removal of the artwork. - 128 - 4 Technical Requirements All proposals must meet the following criteria: 1. Installations must be durable, and able to withstand unpredictable winter weather conditions and physical contact by the public for the duration of the installation. 2. There is a circuit monitoring at City Hall, however there is no overnight security in the space. Installations must be robust, and able to be installed in a public space unmonitored, without being bolted to the ground. The artwork will be actively monitored with daily visual inspections conducted by City Staff, including weekends, as well as intermittent security patrols by the City’s Security team. Artwork should not require security, or onsite support outside of load in and load out. 3. Artists will need to be willing to work with the project team on the technical set up and electrical capabilities, and address any safety concerns. This includes securing all electricals and support cabling with durable covers/cable ramps to eliminate tripping hazards. Site Map for further information about the electrical capabilities of the space will be provided upon request. 4. Installation should comply with safety and accessibility design standards where possible 5. Artist(s) must be able to set-up, dismantle or provide clear instructions for City staff to install/deinstall the work. City staff may be available to help set-up and deinstall installations on request if necessary. 6. Selected artists will be expected to provide proof of general liability insurance. Selection Process A public art jury comprised of city staff, practicing arts professionals, and community members will be established for the evaluation of the proposals. This is a one stage competition. One (1) Artist/Team will be awarded the opportunity. The Jury will recommend an artist or artistic team for the award of the commission based on the following criteria: 1. Artistic merit, including quality of work, originality, and artistic excellence in the field of light-based outdoor temporary art installation. 2. Adhesion to the Call to Artists – Request for Proposals and expressed desire in this project; and, 3. Artist’s demonstrated ability and proposal feasibility to meet the artwork goals and technical requirements, within the set timeline and budget. The City of Pickering reserves the right to select and retain the artist deemed most appropriate for the project at its sole discretion. - 129 - 5 Submission Requirements Complete your RFP submission and email it in a single PDF. Please include: 1. Artist statement: describe your interest in this project. You can submit a written document (1-page max) or record an audio or video message (MP3 or MP4 file, max 20 MB). 2. CV: Professional resume (3-pages max). If submitting as a team, an individual resume should be submitted for each team member. 3. Portfolio of past work: Examples of relevant light-based work. You may include multiple images per project on 1 page of a maximum to 10 projects (10-pages). Add tittle, year, scope and a short description. 4. Artwork Design: a. For existing work: photographs, plans, and/or videos of the proposed work along with dimensions, materials and electrical requirements. b. For new commission: concept sketch, photos, and other images/details as applicable along with proposed dimensions, materials and electrical requirements. 5. Proposed Budget and Delivery/Installation/Deinstallation Plan: for artist fees, delivery, installation and de-installation. 6. References: A list of at least two professional references familiar with your work and working methods. The list must include name, email and telephone number. Submissions must be sent by email to: sbarakov@pickering.ca Subject: Artist Name – Winter Nights, City Lights 2023 If the file exceeds 20 MB, artists are asked to use an external file share program provided by the City upon request. Incomplete submissions or submissions received after the deadline will not be juried. The proposals may be used by the city of Pickering in meetings with stakeholders and staff. Accessibility: The City will provide accommodations throughout the selection process to applicants with disabilities. Please notify Stoyan Barakov, Coordinator, Public Art at 289.200.7829 or sbarakov@pickering.ca of the nature of any accommodation(s) that you may require in respect of any materials or processes used to ensure your equal participation. Reserved Rights of the City of Pickering The City of Pickering, at it sole discretion, may request clarification or request additional information, as deemed necessary to evaluate the submissions. The City retains the sole discretion to determine whether a submission is responsive and if the prospective Artist or Artist Team is capable of performing the Work. The City reserves the right, at it sole - 130 - 6 discretion, to determine the number of pre-qualified Artists or Artist Teams. The City reserve the right to not proceed with awarding a contract. Publication of Information The City of Pickering shall have the exclusive rights to issue all public announcements regarding the competition. Additional Information For any additional information or questions please contact: Stoyan Barakov, Coordinator, Public Art at 289.200.7829 or sbarakov@pickering.ca. - 131 - ARTIST STATEMENT My name is Nate Nettleton and I am an artist living and working in Aylmer, Quebec. My art practice explores concepts of progress and possibility through abstract sculpture. I am passionate about the importance of art, and am inspired and excited by creating meaningful, thought-provoking artworks, and by working collaboratively within communities. I am thrilled to have my artwork considered for The City of Pickering’s “Winter Nights City Lights” RFP as I feel my interactive and colourful sculptures align well with the projects vision and could be a great seasonal addition to Esplanade Park. I have significant experience executing site-specific, large-scale public art projects in both public and private settings, indoors and outdoors. I have independently managed projects with budgets of up to $65,000, including sourcing materials, working with fabricators, engineers and designers, acquiring insurance policies, liaising with stakeholders, engaging the local community, adhering to timelines and regulations, and delivering final products. Public art is intrinsically valuable in creating vibrant communities, and is an integral part of a community's public life, and I believe it is strongest when it invites interpretation, interaction, and engagement from its viewers. I possess the necessary technical skills and expertise to create an innovative, thought-provoking, and eye catching artwork for the City of Pickering that will be contextually specific and relevant to the space and local community. - 132 - NATE NETTLETON nnettleton@hotmail.com www.natenettletonart.com PUBLIC ART 2023 (Upcoming) Zibi Developments Permanent Sculptural Installation, Ottawa, ON Wilsons Point, Permanent Public Artwork, Orillia, ON Lumiere, Toronto, ON Hamilton Winterfest, Hamilton, ON 2022 Light Up The Square, Mississauga, ON Gladstone Hotel, Toronto, ON 2020 Artscape x Zibi Artist in Residence, Ottawa, ON 2019 Yonge & St. Clair Sculpture Project for Nuit Blanche, Toronto, ON Drake Hotel, Toronto, ON 2018 Winter Lights, Exhibition at Ontario Place, Toronto, ON 2017 Drake Devonshire, Prince Edward County, ON Arboretum Festival, North Gower, ON Light Installation for Glow Fair, Ottawa, ON Arts Alive, Public Sculpture Program, Victoria, BC 2016 Elemental Arts Festival, Manitoulin Island, ON SOLO EXHIBITIONS 2022 Bright Before Me, Wallspace Gallery, Ottawa, ON 2018 Significant Irrelevance, Seven Below Gallery, Ottawa, ON 2015 Beached, Frank & Oak, Ottawa, ON - 133 - SELECTED GROUP EXHIBITIONS 2022 Liz Lidgett Gallery, Des Moines, IA 2021 Liz Lidgett Gallery, Des Moines, IA Wallspace Gallery, Ottawa, ON 2019 Liz Lidgett Gallery, Des Moines, IA The Front, New Orleans, LA 2018 Boston Art, Boston, MA Wallspace Gallery, Ottawa, ON Fall Down Gallery, Ottawa, ON Seven Below Gallery, Ottawa, ON 2017 Duran-Mashaal Gallery, Montreal, QC Power Plant Contemporary Art Gallery, Toronto, ON ABODE, Gallery 115, Ottawa, ON Carleton University Art Gallery, Ottawa, ON 2016 Bombay Sapphire Artisan Series, Youn Gallery, Montreal, QC 2015 The Manx, Ottawa, ON ACQUISITIONS & GRANTS 2022 Canada Council for the Arts, Travel Grant 2021 The Davis Companies, Boston, Private Collection 2020 Daniels, Regent Park Condominium Development, Private Collection Marriott Hotel, Washington, Private Collection 2019 Loews Hotel, St. Louis, Private Collection Ecentral Condominum Development, Toronto, Private Collection Kimpton Blythswood Square Hotel, Glasgow, Scotland, Private Collection Soshal Agency, Ottawa, Private Collection Racoon Valley Bank, Des Moines, Private Collection - 134 - Ontario Arts Council Exhibition Assistance Grant 2018 Fernando Mastrangelo Studio, New York, Private collection Ontario Arts Council Exhibition Assistance Grant Bombay Sapphire Artisan Series, Regional Finalist 2017 Bombay Sapphire Artisan Series, Regional Finalist 2016 Frank & Oak, Private collection Emerging Artist Grant, Elemental Festival Bombay Sapphire Artisan Series, Regional Finalist BIBLIOGRAPHY 2018 Blank Spaces Magazine – June 2018 Ottawa at Home Magazine, Spring 2018 PACE Magazine – Issue 5, Spring 2018 Ottawater - Issue 14, Winter 2018 Feels Magazine – Issue #5, Winter 2018 2017 Barbed Magazine – Issue #5, Spring 2017 2016 Barbed Magazine – Issue #4, Spring 2016 2015 Herd Magazine - Issue #11, Winter 2015 - 135 - PAST WORK Title: Disco Wall Installation: 2023 Location: Trillium Park, Toronto Commissioner: Ontario Place Budget: $12,500 Dimensions: 96” x 78” x 24” Materials: Iridescent acrylic, disco balls, LED tube lighting, rotating motors & wood base Description: An interactive sculptural installation that reacts to light and movement. A colour changing iridescent prism houses a collection of illuminated rotating disco balls, sparkling lights dance across the sculpture and its surroundings. - 136 - Detail image of “Disco Wall’ interior - 137 - Title: Iridescent Towers Installation: 2019 Location: Toronto Commissioner: Ontario Place Budget: $7,500 Dimensions: 96” x 12” x 12” Materials: Iridescent film, epoxy, & wood Description: An interactive sculptural installation that reacts to light and movement. The artwork appears different from every angle as a full spectrum of colour dances across the sculptures surfaces as the viewer and/or sun move past. - 138 - Title: Echoes Installation: 2022 Location: Missisauga Commissioner: The City of Mississauga Budget: $5000 Dimensions: 72” x 56” x 56” Materials: Iridescent acrylic, disco balls, LED tube lighting, rotating motors & wood base Description: An interactive sculptural installation that reacts to light and movement. A colour changing iridescent prism houses a collection of illuminated rotating disco balls, sparkling lights reflect and dance across the sculpture and its surroundings. - 139 - Title: Echoes 2.0 Installation: 2022 Location: Hamilton Commissioner: Hamilton Winterfest Budget: $5000 Dimensions: 96” x 78” x 24” Materials: Iridescent acrylic, XL disco ball, LED tube lighting, rotating motor & wood base Description: An interactive sculptural installation that reacts to light and movement. A colour changing iridescent prism houses an XL 40” disco ball, sparkling lights dance across the sculpture and its surroundings. - 140 - Detail image of Echoes 2.0 - 141 - Title: Sun Shape Sculptures (mid-fabrication) Installation: Summer 2023 Location: Ottawa/Gatineau, Ontario Commissioner: Zibi Development Budget: $65,000 Dimensions: Various Materials: Painted aluminum with granite base Description: Six way-finding sculptural artworks guide viewers towards sunrise or sunset and provide education on the significance of the sun within the Algonquin Indigenous culture. - 142 - Mockup of Sun Shape Sculpture - 143 - PROPOSED ARTWORK DESIGN Coloured acrylic sheets visual example Colour overlapping effect Different colours overlap and create new colours from each side/angle - 144 - Basic framework, disco ball tower placement, & dimensions example - 145 - Framework details - 146 - PROPOSED COLOURS OF ACRYLIC SHEET - 147 - PROPOSED ARTWORK DESIGN The proposed project is an eye catching, interactive artwork consisting of a rotating tower of 6 large disco balls, encased in a 9’ x 3’ illuminated, multi-coloured acrylic prism. The focal point of the work is the illuminated disco ball – an object symbolically representative of celebration, endlessly rotating in a beacon of colour. The piece creates a space where the audience is immersed “within” the artwork - thousands of colourful lights dancing across surrounding surfaces, activating the space, and creating an interactive environment outside of the physical artwork itself. This artwork is meant to create joy, hope and optimism – encouraging exploration and interaction from it’s viewers. The various multi-coloured acrylic panels produce a full spectrum of colour, dependent upon the amount, type, and direction of light, as well as the angle in which the sculpture is viewed. This will allow the viewer to experience the artwork in a different way from various locations, as well as at different times of day. The tower of rotating disco balls is powered by a robust rotating motor – a baseplate with a vertical rod is bolted to the top of this motor, and the disco balls are simply threaded down the vertical rod one by one to create the tower. The prism which encases the tower of disco balls, consists of three 3’ x 3’ cube frameworks. These are fabricated from wood, painted white in artist’s studio, and designed to install and uninstall with ease. LED tube lighting will be installed around the interior base of the prism, as well as at the top, to fully illuminate the sparkling disco balls - enhancing the vibrancy of the coloured acrylic panels and creating a way finding beacon for the public to enjoy. A painted (white) wooden base is used to bolt the aluminum structure to, as well as to house/hide the rotating motor and electrical components from the LED lighting. Lumber and ¾” plywood will be used for the base structure to provide a durable and long lasting product. The artwork will be constructed from strong, durable, and safe materials made to withstand the outdoor elements as well as frequent public interaction. - 148 - DELIVERY, INSTALLATION, AND DEINSTALLATION Artwork is safely packaged and delivered by artist to site in a cube truck on date specified by The City of Pickering. Artist & artist assistant will install and uninstall artwork on specified dates. One single electrical outlet is required to power the rotating motor and lighting components of the artwork. All tools and equipment required to install the artwork will be provided by the artist - Basic power tools - Ladder - 149 - BUDGET MATERIAL COST Lumber for wooden base $120 ¾” plywood for wooden base top $180 Rotating motor $450 Six 20” disco balls $1000 Baseplate w metal rod $250 Wood for 3 cube frameworks $400 15 acrylic sheets with precut holes material and fabrication $2750 Hardware $250 LED tube lighting $250 Miscellaneous – paint, sealant, paint brush, paint trays, sanding discs, extension cords, etc $300 Transportation to and from site $400 Artist Assistant - 1 day install & 1 day uninstall $600 Liability insurance (Assurart) $453 Contingency (10%) $1440 Artist Fee $3900 HST $1657 Total $14,400 - 150 - REFERENCES 1. Gillian Zulauf Public Art Coordinator at Ontario Place Corporation Gillian.zulauf@ontarioplace.com 416-314-9900 ext. 1038 or 647-202-4732 2. Philippa French Curator of Public Art for The City of Mississauga Philippa.french@mississauga.ca 905-615-3200 ext. 4675 or 416-457-8510 - 151 - Memo To: Cultural Advisory Committee June 13, 2023 From: Krystal Roberts Acting, Supervisor Cultural Services Copy: Acting Curator Division Head, Culture and Community Programming Director, Community Services Subject: Cultural Fusion Fair 2023 - For Feedback In 2022, the City of Pickering hosted a 2-day inaugural Cultural Fusion Fair designed to celebrate how culture is fused to create new, beautiful traditions and cultural practices. Last year, Cultural Fusion offered the opportunity for culture to shine by engaging visitors with a variety of experiences in the arts, entertainment and cuisine. With the participation of 8 community groups and approximately 28 artisan vendors the event hosted over 5100 guests. Cultural Fusion 2023, will buil d on the foundational roots of 2022 offering uniquely engaging experiences for guests that highlight Pickering’s cultural diversity though creativity, mentorship, inclusion, and supportive sustainable innovation. Event programming includes the following: • Live performing artists celebrating musical diversity through live music • An open outdoor market space • Giant games • Food vendors and Food trucks offering a diverse range of culinary options and menus • Fashion Show • Community Food Drive • Community Support & Mentorship from local community groups. o An invitation to Community Groups and Businesses to participate sharing culture and traditions in support of inspirational community engagement. Cultural Fusion Opening Ceremony Guests and registered participants will gather in Esplanade Park’s green space for a musically supported unofficial record dance count of various multicultural dances all occurring at the same time. This will be Pickering’s inaugural attempt for a record for total Number of diverse and inclusive cultural dances taking place at the same time in a park space. - 152 - Cultural Dances to be included traditional Indigenous Dances, Bharathnatyam, Ballet, Breakdancing, Bollywood, Serbian, Capoeira, Salsa, Chau, Arial, Tap, Jazz, Tang o, Kuchippudi, Japanese, Chinese, Spanish, Irish, Odissi, Portuguese, Hip Hop, Belly, etc. Discussion City staff are seeking your input on this event. - 153 -