Thinking of seeking public art opportunities? Here are some things to look for.

*I have no idea how the formatting on this post got so wonky. It has rearranged the paragraphs, and keeps doing it's own thing. 

Stained glass mosaic mural in Broadway Plaza, Walnut Creek, CA c.2016

This is a post for anyone who has been wondering; "How do I transition into the public art sector?" It is for artists working in any media, but is based in my own experience as a mosaic artist. I started 20 years ago as a hobbyist, incorporating mosaic into my "recycled art" practice, then getting hired for some private commissions like floor inlays, backsplashes, window treatments, hearth surrounds and just plain wall art. After a few years, I created work for some restaurants and a pediatric clinic. In 2005 I was asked to create a memorial for a coworker on a college campus, which was technically in the public art category. So, I started applying for small projects and slowly navigated my way into a steady stream of medium sized public art installations, which is where I find myself in 2023.

My income has been generated through a mix of private, commercial and public art, and it was extremely sporadic for most of my career. I decided to mainly pursue site-specific commissions in 2010, shifting away from arts & crafts that I sold at festivals. In 2014, I was contracted by a company, L'Occitane, to fabricate projects all over the U.S. at a fast pace. It was very difficult, but I learned a lot and built a portfolio that helped me win more projects in the public sector. In 2017, I was selected for my first real public art project for the City of Bellingham (WA) with a $25K budget. I was over the moon and spent the next year working steadily on one solid commission with 5 parts. And that's the joy of large-budget projects, especially if the timeline is reasonable: You get to focus attention on one theme and approach, and work closely with one administrator (or team) for the entire time, without worrying about hustling for the next paycheck. This is such a blessing as an artist, and is the reason I've continued pursuing that direction.

I installed two sidewalk medallions for the Bellingham project
, and 3 vertical mosaics onto light post bases in 2018.

So, that's my back story for context. Once I had a public project with a decent budget under my belt, it was easier to be selected for more opportunities in a similar budget range, so I've been lucky to have steady work for a few years now, with a lot more financial stability. I've worked with different art entities and each one has different processes, contracts, and consideration for the well-being of the artist. I've been thinking a lot lately about what I've learned so far, and I want to share a few pointers for other artists. 

First, I am often asked how I find public art opportunities. Many people assume someone looks up "mosaic artist" on google, sees my website and sends me a request. Ha! I wish it were so! No, there are several main platforms online where artists set up an account with a profile and portfolio. These include Call for Entry and Public Artist.org. We submit professional-quality images of past work with descriptions stating the size, location, commissioning body, and budget. Additionally, there are regional and local arts organizations that have their own platforms. Check your state, city and nearby cities to find out how they post theirs and sign up for their mailing lists. Commissioning agencies post their calls for art on these platforms and artists then submit their qualifications. These calls will inevitably require the artists to re-state all of the information already listed in their profiles, including the image descriptions, along with a CV, letter of interest, bio or artist statement and references. Do not expect to have any of these written in advance because every single call will require you to compose new documents with a specific character/word count and information. More often than not, the information requested will be more than can possibly fit within the character or word count. Brevity is not my strength, as may be obvious to you by now, so I find this very challenging.

Above: Fleuressence; Edmonds, WA 2022 - A collaboration with metal sculptor Abe Singer

What to look for with calls for art:

Once you are in the system and are perusing the opportunities before you, here are important factors to consider before spending hours on an application:

• Is there a fee to apply?
  Pass. You should not have to pay to submit to a call for art. This is an immediate red flag.
• Is it an RFQ or RFP? 
  An RFQ is a Request for Qualifications. This means you will submit your basic information and a selection of images from your portfolio and their jury will make a selection based on your qualifications. Most often, they will shortlist a selection of artists to develop proposals. Some will pay a proposal fee, which is ideal and seems to be more common lately. For an RFP, you are expected to develop a proposal for free on the off-chance yours will be their favorite. When you are just starting out, this may be worth it, as your idea may be more impressive than your experience, and it will help you build your CV and portfolio. But I would proceed with caution, as the committee you are working with might not respect your time. Additionally, when you hand over your free design, you have little control over the use of it. I have heard of artist proposals being handed to a different artist with no compensation or acknowledgement to the designer.

• What is the budget?
  Compare the budget to the parameters. I'm always astounded when there is no stated budget. The artist is expected to guess and has no idea whether they can meet expectations. I view this as an indication that the committee has little to no experience working with artists and has an opaque communication style. It is also important to look at the scope of the work relative to the budget. If the budget is $10K, but they want artwork to cover a 50' x 8' wall, that's $25 per square foot. If you are a mural artist working in a highly stylized format, this may be a great fit for you. But you couldn't have subway tile installed for that budget, let alone an intricate, compelling mosaic. I've seen calls for art with budgets so low, the artist would lose money on materials. (Note: I have learned that, if the RFQ states a budget range like $20K-25K, they are going to give you the lowest amount. They may also include the proposal fee into that budget without explicitly stating it.)
• Are you eligible?
  It is exasperating how often I have to read through the material to find this information. Their criteria can be toward the end of the call for art and might include geographic or demographic limitations (i.e. only from that city or only BIPOC or only veterans.) Sometimes they want someone who has experience with the type of artwork in question, like sculpture, or public engagement. Be sure to read the whole thing before you get excited.
• What is the timeline?
  Lately, I've been dismayed to read calls for art that is right up my alley and I would love to apply, but the timeline doesn't extend out far enough to be realistic. I'm usually in progress on a project and not in a position to start another one immediately. Just today, I looked at a really great RFQ for something where they want fabrication for a $50K project to start in June and be installed in October...of THIS YEAR.  If you don't have experience with these things, that might sound feasible, but I assure you, it is so not. And it could be that they would extend the deadline, but then we are getting into winter months when installation is impossible, so the project would need to be stored until spring. Is that possible? Why isn't the committee aware of this issue? It makes me wary of the folks in charge.
• Where is the project?
  It can be really exciting to have a project in another state. I admit, I love saying, "Yeah, I'm installing this mural in Atlanta" (the other side of the country.) And it might be just dandy for you. But make sure you are thinking it through. What will it take to move the art from your studio to the location? How would you ship it and what would it cost? Do you have the freedom to leave for periods of time? Are you in charge of getting your kid to and from school and have no family nearby to help? Will you need to hire a pet sitter? This one shouldn't be a deal breaker, but I now try to apply for jobs within driving distance because it is so much easier to do site visits and deliver the work with less stress. Instead of paying for flights and lodging, I can allocate more of the budget to the actual project. OR I work with a client who is willing to hire an installer, so I can simply fabricate the mosaic and ship it to the site, ready to put into mortar.
• Who is the arts administrator? 
  Unfortunately, the artist is required to prove they have the experience and ability to complete the project, but the administrator can be literally anyone. They don't have to have any experience at all. And it is very hard to discern who exactly is administering the project - you generally don't find out who you're working with until you are selected. So far, I have learned that a government agency is more experienced and easier to work with, though it's not guaranteed. A city arts department or arts commission is going to have previous experience working with artists. They have procedures, contracts, and a public works department. Still, the person given primary responsibility over your commission might be random and inexperienced, and often they are overburdened. Have an attorney look over your contract before you sign it. Make sure you will have support from Public Works to prep the site and that you have access to water, a place to clean buckets and dispose of waste, and access to a restroom when you are on site. If possible, check the website for the commissioning entity, see if there are other art projects they've commissioned, and you may even want to try reaching out to previous artists to ask about their experience. When you are getting started, you are likely to take whatever work you can get, but it might be worth doing research. So many of my fellow artists dipped their toes into public art, had a bad experience, and swore it off forever. 

Public art is not for everyone.
The bureaucracy is thick, the pressure is high, and you can be expected to live on no income for months while the committee decides whether and when to approve your proposal and issue a deposit. I was selected for my current project in May, submitted the proposal in September, was asked to revise it in November, and finally received a deposit at the end of December. It was originally due to be completed by March, but my request to extend the installation deadline to April was accepted. I've had clients refuse to pay sales tax, even though I have to pay it on the whole amount, no exceptions. You can't include a markup on materials or include a profit margin in most public art budgets. I've made the incorrect assumption that the organization would provide support (or be present) during installation, including blocking off the area of a public path where a crane is placing huge structures. I've had to itemize all receipts and eat the cost of any supplies I already had on hand. And I've come very close to quitting a project twice because the proposal process took so long, I was taking out massive loans to pay household expenses and it put stress on my marriage. But, then when the money comes through and I get to just create for a few months, it is all worth it. And seeing my work installed, watching the public respond, is the thing that feeds my soul. So I keep applying and the cycle continues.

I hope this helps those of you who are thinking of taking this path to decide if it is the right direction for you. And if it is, maybe it will allow you to avoid some of the foibles and trials so many of us go through in this work. Best of luck to you as you find your way through it!

Addendum: The SAMA/SGAA conference registration has launched, and I'm offering an in-person version of my new workshop: The Business Side of Site Specific Mosaic Installation. Find more info here: https://www.stainedglass.org/site-specific-mosaic-business-side-workshop?fbclid=IwAR1WkuBPSdECJ2OjTf-XMzUhBCcBL_zjRbsvbdv7p8vvkU_b1LYh6eZOP3I

This project isn't public. It's for a corporate office (3rd floor) after the first day of installation (2022). 

2023 off to a crazy busy start!

 Hello Friends!

So much has been happening recently in my world that I'm not sure where to start. So, I decided to write a blog post over here on this platform, rather than directly on my website.

Though I was selected for my current project in May, the proposal and contract process took through December, so I wasn't able to really start ordering supplies and confirming logistics until the start of the year. This project is for a new low-income housing complex in Port Townsend, WA being built through an organization called OlyCAP (Olympic Community Action Programs.) In Washington State, all publicly-funded construction is subject to a 1% For Art allocation, so a portion of their budget is dedicated to a creative component. The theme is a celebration of the Salish Sea, with emphasis on the vital relationship between sea stars and kelp forests. 

As I did research for this project, I learned more about how sea star wasting disease is decimating the kelp in our region, and here's why: Urchins feed on kelp and sea stars consume urchins. Without a strong population of sea stars, urchins are prolific and are "mowing down" the kelp forests, which provide essential habitat for all of the sea life, including salmon, harbor seals, orcas, anemones, etc. If we lose our kelp forests, we are in serious trouble. But all along the Pacific coast, that is exactly what is happening.

So, here is one frame from my proposal, which will embellish the child care center:

The sea stars along the bottom will be mosaic, made by local kids, while the kelp walls will be painted onto a special mural fabric called Polytab, then adhered to the walls when weather permits. The artwork extends around the building, connecting this entryway to another one for residents.

So, in order to engage local kids, I applied for a Centrum residency, which is an organization located on Fort Worden in Port Townsend. And to make the most of it, I submitted it as a group proposal, which would allow 6 regional mosaic artists to share the apartments and the cost while giving us the opportunity to enjoy each other's company and completely geek out on our shared medium. 

Left to right: Lynn Adamo (face covered), Karen Rycheck, Joanne Daschel, Mark Brody, Richard Davis, and me in the center.

During my week in Port Townsend, I spent 4 afternoons working with the kids at a YMCA after-school program. They made sea stars and a few urchins from recycled glass tiles. Joanne, Mark and Lynn each took it in turns to help out with these sessions.

Over the weekend, I visited the three science centers in Port Townsend. The aquarium was closed for winter, but the aquarist generously took Joanne and I for a private tour. I felt remarkably lucky because I was able to visit with the rescued octopus on site, which was released to the wild that very afternoon. This guy was found in a light trap for studying sea life as a tiny baby, but had reached sexual maturity. During our visit, he was pressed against the clear walls of a tank, and it was a special experience to take a close look at his tentacles up close.

At the flagship location downtown, artists Timbul Cahyono and Mariah Vane have created an experiential exhibit to demonstrate the importance of kelp forests. The docent there said she had been on a sea star count very recently and was happy to report increased numbers. That is hopeful news!

Our group also met with Rebecca Welti in nearby Port Hadlock to get a tour of her art installation in a public park, which happened to be created around the very same theme of the Salish Sea. She focused more on the importance of plankton, and had kids create ceramic elements that are embedded in concrete. She designed many interactive structures to inspire kids who visit the park.

It was a particularly chilly, windy day for our field trip.

Joanne, Mark and Lynn playing on a plankton structure designed by Rebecca Welti.

The six of us shared apartments and a large studio for a week. Here are some snapshots from our studio time:

I made a tiny bit of progress on a project I need to be a bit cryptic about for now.

This is Richard Davis's work space. So organized!

Karen Rycheck worked on hand-built ceramics in her unmistakable style.

Joanne Daschel made small mosaic studies based on observation in a plein air approach, but in the slow-mo medium of mosaic. 

Mark Brody worked on torch-burned and colorfully stained, large-format wood mosaic and Lynn Adamo is exploring assemblage with found objects, incorporating fiber. But I can't upload those photos. It is always a pleasure to spend time with what has become an extended family. We bounce ideas off of each other, discuss technique and materials, and work through the unique dilemmas of our creative life and work. This is our second year with a Centrum residency, and it has been a really wonderful opportunity.

One more thing I worked on in the evenings was becoming familiar with my new iPad and Procreate. I have been mainly working in analog for all of these years and my digital art skills are pathetic. About 2 weeks ago, I invested in the iPad and I'm struggling to learn how to use it for illustration. I have a proposal I need to refine asap in order to submit for some grant opportunities, so I spent time this past week honing the concept with Procreate. If you have any digital art skills, you will not be impressed, but I about jumped up and down a couple of times as I slowly navigated the program in the evenings. I have a basic design to present for the next community mosaic project, slated to go somewhere in downtown Olympia in fall 2023.

In 2021, I announced a project that would incorporate mosaic butterflies at Monarch Sculpture Park. However, things didn't pan out. A few people sent butterflies and I've been wondering how to shift gears and make use of them. Since I'll be the featured artist for Olympia's fall Arts Walk, I thought it would be fun to plan something big with local community. My idea is to have a figure emerging from a chrysalis with wings spread, life-sized so that visitors can pose in front of it for a photo op, becoming one with the art. The surrounding wall will be filled with butterflies made by everyone who wants to participate. The message of the design is a celebration of becoming your unique, authentic self. 

No, I do not yet have a wall or funding for this project, so it feels really scary. But I was just approved for fiscal sponsorship and will be able to crowdfund and donations will be tax deductible, and I will be applying for grants and seeking corporate sponsors. I'm trying really hard to take this one step at a time, but I'm so excited about it, I've already gotten ahead of myself! This is one of my fatal flaws.

For right now, I'm still at the early phase of the project at hand, which is the Sea Star/Kelp Forest mural for the 7th Haven building in Port Townsend. That's my main priority. But I'll be sending out more information about the butterfly mural as details are confirmed. I already have some mosaic butterflies and a new one was waiting for me when I came home. This is from Aya Kinoshita in Pennsylvania:

*As you can see, the mosaic is completed, including grout. I'll be able to set it directly into mortar like a single tile. Not all butterflies need to be pre-grouted like this, but it sure will make it easier to install.

If you made it this far through another wordy post, thank you so much! I know I should write shorter posts more frequently. Ah well. I hope your January was as fulfilling and energizing and I'll catch up again in February!