[Municipal Walking Trails Art 3 (2) Selection Panel Meeting on December 11, 2024.]
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WELCOME EVERYONE TO THE MUNICIPAL WALKING TRAILS SELECTION PANEL MEETING FOR PHASE THREE. NUMBER TWO. I THINK WE COULD START OUT BY INTRODUCING OURSELVES. THIS IS A STREAMING MEETING. SO YOU ARE BEING TELEVISED. SO THIS WAY EVERYONE THAT'S WATCHING CAN KNOW WHO YOU ARE. JEREMY, WOULD YOU LIKE TO START? GOOD. GOOD EVENING EVERYONE. MY NAME IS JEREMY ZAHN. I'M. I RUN A LEADING GRID RATING FIRM IN THE COUNTRY FOR NATIVE AMERICANS.
I'M ALSO THE DEVELOPMENT DIRECTOR FOR TEXAS NATIVE HEALTH, WHICH IS THE ONLY URBAN INDIAN ORGANIZATION IN THE STATE OF TEXAS LOCATED IN THE MEDICAL DISTRICT. REALLY HAPPY TO BE HERE. THANK YOU. GOOD EVENING EVERYONE. MY NAME IS CHANTELLE MCMURRAY AND I'M A PART OF THE WARLI ARTS BOARD. FIRST TERM SERVING. SO EXCITED TO BE HERE. THANK YOU. GOOD EVENING EVERYBODY. I AM MUMTAZ AFZAL. I'M A REALTOR BY PROFESSION AND I'M HERE AS SERVING AS A CITIZEN. THANK YOU.
SO WE'LL BEGIN WITH YOU ON. OH. YEAH. GOOD EVENING EVERYONE. MY NAME IS NISHA SINHA AND I AM A VISUAL ARTIST FROM FRESCO. I AM A MEMBER OF VEGF GALLERY AND I AM A MEMBER OF WALLA. ALSO VISUAL ART OF ALLEN AND FROM THE COTTON MILL. I HAVE AN ACTIVATION SOLO ACTIVATIONS AS WELL. I DO THE SPIRITUAL ART MAINLY, BUT I AM TRYING TO CONNECT WITH THE SPIRITUAL AS WELL AS MODERN ART IN WITH THE VISUAL ART? YES. GOOD EVENING EVERYONE. MY NAME IS BARBARA MARX. I HAVE BEEN A RESIDENT OF THE CITY OF WILEY FOR 46 YEARS. I HAVE A BACHELOR'S DEGREE IN COMMERCIAL ART WITH A MINOR IN FINE ART, AND HAVE PRACTICED AS A GRAPHIC DESIGNER. I'M NOW RETIRED, HAPPY TO BE HERE. THANK YOU EVERYONE! WE DO HAVE SOME PUBLIC ART BOARD MEMBERS THAT ARE HERE AS WELL. WATCHING THE PRESENTATIONS. THEY WILL MEET AFTER THIS MEETING IS OVER WITH TO FINALIZE THEIR RECOMMENDATION TO THE CITY COUNCIL. SO FIRST ON OUR PRESENTATIONS TONIGHT IS GILLIE AND MARC. THEY ARE ARTISTS FROM AUSTRALIA AND AT THE MOMENT THEY ARE IN AUSTRALIA. SO THEY HAVE PROVIDED FOR YOU A VISUAL OF THEIR PRESENTATION AS WELL AS A PAMPHLET WITH THEIR DESIGN. AND THEY HAVE ALSO GIVEN US AN AUDIO AND JULIE IS GOING TO PLAY IT FOR YOU. THERE WILL BE THREE PRESENTATIONS TONIGHT AND ONCE THE PRESENTATIONS ARE COMPLETED, THEN WE WILL DISCUSS AND RECOMMEND AN ARTIST.
HI EVERYONE. WE'RE JULIE AND MARK AND WE'RE SO HONORED TO BE PRESENTING TODAY. WE ARE RENOWNED PUBLIC SCULPTURE ARTISTS WITH A STRONG FOCUS ON REALISTIC FIGURATIVE SCULPTURES, AND OVER THE YEARS, WE'VE HAD THE PRIVILEGE OF CREATING WORKS THAT INSPIRE CONNECTION AND TELL MEANINGFUL STORIES IN CITIES ACROSS THE WORLD. WHILE WE'RE NOW BASED IN AUSTRALIA, OUR PROJECTS SPAN CONTINENTS, MAINTAINING A STRONG GLOBAL PRESENCE. OUR SCULPTURES, SUCH AS THE ICONIC RUTH BADER GINSBURG STATUE IN NEW YORK AND OTHER FIGURATIVE WORKS, HAVE
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BECOME CHERISHED LANDMARKS. AND TODAY WE ARE SO THRILLED TO SHARE OUR PROPOSED DESIGNS FOR THE WILEY MUNICIPAL WALKING TRAILS PROJECT. OUR WORK OFTEN FOCUSES ON CAPTURING HUMAN FORM IN INCREDIBLE DETAIL, WHICH MAKES IT PERFECT FOR THIS PROJECT. WE SPECIALIZE IN WORKING WITH BRONZE, AN EXTRAORDINARY MEDIUM WITH UNMATCHED DURABILITY AND TIMELESS APPEAL. BRONZE SCULPTURES CAN LAST HUNDREDS OF YEARS WITH LITTLE OR NO MAINTENANCE, MAKING THEM IDEAL FOR OUTDOOR INSTALLATIONS LIKE THIS. TO GIVE YOU A SENSE OF WHAT WE CAN ACHIEVE, I'M INCLUDING A LINK TO OUR PORTFOLIO OF FIGURATIVE SCULPTURES WHICH HIGHLIGHTS THE DETAIL, CRAFTSMANSHIP AND EMOTION WE BRING TO OUR WORK.FOR THIS PROJECT, WE ARE CONFIDENT WE CAN CREATE A STUNNING LIFE SIZE AMERICAN HUNTER SCULPTURE AT SIX FEET TALL, ENSURING IT RESONATES WITH THE COMMUNITY AND STANDS THE TEST OF TIME. OUR FIRST CONCEPT DEPICTS A HUNTER IN A CROUCHED STANCE. HIS BOW IS DRAWN AS IF AIMING AT A DISTANT TARGET. THIS POSE CAPTURES THE FOCUS, PRECISION AND RESILIENCE OF THE NATIVE AMERICAN TRIBES THAT ONCE INHABITED THIS LAND. THE NATURAL BASE MIRRORS THE BLACKLAND PRAIRIES TERRAIN, CREATING A DEEP CONNECTION TO THE LANDSCAPE. THIS DESIGN IS VISUALLY COMPELLING AND HISTORICALLY RESPECTFUL, ALIGNING WITH THE THEMES OF CREATIVITY AND REMEMBRANCE. OUR SECOND CONCEPT SHOWS THE HUNTER STANDING UPRIGHT, BOW EXTENDED, READY TO RELEASE THE ARROW. THIS STANCE SYMBOLIZES STRENGTH AND THE ENDURING LEGACY OF TRADITIONAL HUNTING PRACTICES. THE BASE FOR THIS DESIGN ECHOES THE DIVERSE TEXTURES OF THE PRAIRIE, GROUNDING THE SCULPTURE IN ITS HISTORICAL CONTEXT WHILE ENSURING ACCESSIBILITY FOR VIEWERS OF ALL AGES. BOTH DESIGNS REFLECT THE PROJECTS THEMES OF RESILIENCE, HOPE AND CULTURAL REMEMBRANCE, AND WE'D LOVE TO HEAR YOUR FEEDBACK ON WHICH DIRECTION FEELS MOST ALIGNED WITH THE VISION. WE'D ALSO LIKE TO ACKNOWLEDGE SONNY BRYAN'S INCREDIBLE DESIGN, WHICH WE'VE ATTACHED FOR YOUR REFERENCE. HIS SCULPTURE OFFERS A COMPELLING ARTISTIC PERSPECTIVE, AND WE BELIEVE OUR WORK WILL COMPLEMENT HIS. OUR SCULPTURE CAN BE POSITIONED TO FACE HIS ARTWORK, CREATING A VISUAL DIALOG WHILST MAINTAINING HARMONY. EVEN THOUGH THE PIECES WILL BE LOCATED IN DIFFERENT AREAS. THIS PROJECT WILL TAKE APPROXIMATELY 10 TO 12 MONTHS TO COMPLETE. WHILE OUR FOUNDRIES ARE OVERSEAS, WE ARE HIGHLY EXPERIENCED IN MANAGING INTERNATIONAL PROJECTS, ALWAYS FACTORING IN DELIVERY COSTS TO ENSURE A SEAMLESS PROCESS. THE $60,000 BUDGET YOU'VE OUTLINED WILL COVER THE ENTIRE PROCESS, INCLUDING DELIVERY TO THE SITE IN WYLIE. WHILE WE DO NOT UNDERTAKE INSTALLATIONS OURSELVES, IT IS A STRAIGHTFORWARD PROCESS AND WE WILL PROVIDE DETAILED INSTRUCTIONS TO MAKE IT AS EASY AS POSSIBLE FOR YOUR TEAM. THANK YOU SO MUCH FOR YOUR TIME TODAY. WE'RE INCREDIBLY EXCITED ABOUT THE OPPORTUNITY TO CREATE THIS LIFE SIZED BRONZE SCULPTURE HONORING THE NATIVE AMERICAN HUNTER AND THE RICH HISTORY OF THE TEXAS BLACKLAND PRAIRIE. WE'RE EAGER TO MOVE FORWARD AND WOULD LOVE TO DISCUSS ANY FEEDBACK OR NEXT STEPS. PLEASE DON'T HESITATE TO REACH OUT WITH QUESTIONS, OR IF A FOLLOW UP CALL WOULD BE HELPFUL. TOGETHER, WE CAN CREATE SOMETHING TRULY ICONIC FOR THE WYLIE MUNICIPAL WALKING TRAILS. AND THANK YOU AGAIN! WE CAN REACH EITHER OF THE ARTISTS THAT ARE PRESENTING VIA POWERPOINT. WE CAN GET THEM TO ANSWER ANY QUESTIONS THROUGH EMAIL. SO IF YOU HAVE ANY QUESTIONS FOR THIS PARTICULAR ARTIST, JUST LET ME KNOW OR WRITE THEM DOWN AND GIVE THEM TO ME, AND I'LL BE HAPPY TO GET THE INFORMATION FOR YOU. BY THE TIME WE START THE DISCUSSION.
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ARE THERE ANY QUESTIONS ANYONE HAS? I WILL TELL YOU THAT I DID REACH OUT TO THEM AND ASK WITH THE INSTALLATION IF THEY WERE INCLUDING THE BASE FOR THE PIECE AND ALSO THE LIGHTING AND THE TEXAS CERTIFIED ENGINEERING PLANS, AND THEY SAID THEY WOULD DO THE ENGINEERING PLANS AND THE BASE, WHICH I BELIEVE IS WHAT THEY HAVE ON THE PRESENTATIONS, BUT THEY DON'T DO LIGHTING. SO THAT WOULD BE AN ADDITIONAL COST. REMIND ME, HOW BIG IS THE BASE? THE BUDGET IS WHAT, 60,000? SO IT WOULD GO OVER BUDGET IF WE DID THE LIGHTING OKAY. AND HOW HOW TALL IS THE BASE? IT'S SUPPOSED TO BE SIX FEET. SIX FEET. IS THAT INCLUDING THE STATUE? STATUE.AND IT'S FOR THE SCULPTURE ITSELF. IT'S SIX FEET TALL. OKAY. AND THEN THE BASE WOULD BE HOW MANY FEET? THE BASE IS JUST GOING TO BE MOSTLY A NORMAL BASE. IT DOESN'T HAVE TO BE EXTREMELY HIGH DEPENDING ON THE STYLE OF THE SCULPTURE. OKAY. WOULD DEPEND ON WHAT SIZE BASE THEY WOULD USE. BUT IN THIS PARTICULAR CASE, I THINK THE BASIS THAT THEY HAVE THEM ON OR WHAT THEY PLAN TO USE. OKAY. OUR SECOND PRESENTER IS WESLEY CLARK. IF YOU REMEMBER, CATHERINE HAD BEEN THE THIRD CHOICE, BUT SHE HAD DECLINED. SO THE NEXT ARTIST THAT WAS IN LINE AS FAR AS FAVORABILITY WAS WESLEY CLARK. AND I'M GOING TO PLAY HIS POWERPOINT NOW.
DR. CLARK AND I AM WORKING OUT OF COLLEGE PARK, MARYLAND. I'M EXCITED TO PRESENT THIS WORK TO YOU TODAY. THIS PROPOSAL FOR THE WILEY MUNICIPAL WALKING TRAIL. IT'S BEEN A VERY INTERESTING PROJECT TO BEGIN TO RESEARCH AND SOMETHING THAT FOR ME PERSONALLY, I'VE BEEN INTERESTED IN, WHICH IS JUST SIMPLY LEARNING AND SEEING MORE OF THE AMERICAN LANDSCAPE AND LOOKING FORWARD TO THIS OPPORTUNITY TO KIND OF DIVE INTO THAT, THAT ASPECT A LITTLE BIT MORE AS WELL, JUST TO KIND OF START OFF WITH YOU AND I HAVE TO SAY, BEFORE WE DIVE IN TOO FAR, THAT THIS METHOD OF PRESENTING IS RATHER NEW TO ME. AND SO THE IDEA OF NOT BEING ON SCREEN WITH YOU VIA ZOOM OR IN PERSON, FOR THAT MATTER, IS SOMETHING NEW FOR ME. AND SO, YOU KNOW, BEAR WITH ME HERE. WE'RE GOING TO WORK THIS OUT. BUT FOR THOSE WHO MAY HAVE SEEN THE WORK BEFORE, THIS IS JUST KIND OF TRYING TO REMIND YOU WHO I AM FROM A VISUAL STANDPOINT. I WORK IN A LOT OF DIFFERENT MEDIUMS FROM, YOU KNOW, WOODS TO RESIN TO STEEL, BRONZE AND CONCRETE AS WELL. BUT IT'S REALLY I'M REALLY A VERY NARRATIVE KIND OF DRIVEN ARTIST. ONCE I KIND OF LATCH ONTO A THEME, LIKE THAT'S WHERE THE MATERIAL CHOICES AND THINGS KIND OF COME ABOUT FROM THERE.
JUST TO GIVE YOU SOME FROM FROM CONCEPT TO INSTALLATION EXAMPLES. AND THIS IS THE PART I KIND OF THINK OF AS MY IHOP MENU, OR EVEN MY, MY WAFFLE HOUSE MENU, RIGHT WHERE YOU CAN KIND OF SEE THE PICTURES ON THE MENU. AND THEN FOR WHAT YOU MAY WANT TO ORDER AND THEN WHAT ACTUALLY COMES ON THE PLATE. AND SO IN THIS CASE, YOU KNOW, WE HERE HAVE ON THE LEFT SIDE THE SKETCH. AND THEN ON THE RIGHT SIDE THE ACTUAL FINAL WORK DELIVERED. AND I LIKE TO THINK THAT WE OVER DELIVER WHEN IT COMES TO WHAT WE'RE SERVING UP HERE. SO JUST A FEW PROJECTS TO KIND OF GIVE YOU THAT EXAMPLE. AND SO, YOU KNOW, THE SKETCH, THE PENCIL SKETCH TO THE FULL REALIZED CONCRETE WORK THERE AND HERE IN PARTICULAR SHOWING THE MAQUETTE, THE SCULPTED MAQUETTE OUT OF CLAY TO THE FINALIZED BRONZE. NOW I WANT TO KIND OF HONE IN HERE JUST A SECOND TO REALLY GET A SENSE HERE OF THE MAQUETTE VERSUS THE FINAL BRONZE. RIGHT. THE MAQUETTE, YOU KNOW, THERE'S YOU THERE'S PROPORTIONS, THINGS, YOU KNOW, JUST THIS IS JUST ABOUT GETTING THE IDEA AND THE CONCEPT ACROSS. RIGHT. AND THEN WE KIND OF FINE TUNE IT WHEN IT COMES TO THE
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FINAL BRONZE, AND IT'S IN ITS FINAL EXECUTION HERE. SO A VISUAL THREE DIMENSIONAL SKETCH VERSUS THE FINAL REALIZED WORK. NOW AS IT COMES TO AS IT RELATES TO THIS PROJECT, YOU KNOW, I KNEW WE WERE THINKING ABOUT WE'RE REPRESENTING THREE DIFFERENT NATIONS OF PEOPLE HERE, RIGHT FROM THE CADDO TO THE COMANCHE TO THE WICHITA, PRIMARILY THOSE THREE, I WOULD SAY. AND, YOU KNOW, KNOWING THAT THERE'S ANOTHER SCULPTURE THAT WE'RE INTEGRATING WITH THIS, THIS THE WHITETAIL DEER, YOU KNOW, WHAT ARE WE WHAT ARE WE LOOKING FOR? WHAT DO WE WANT TO DO? WHAT ARE WE WHAT ARE WE GOING TO DIVE INTO HERE? AND SO, YOU KNOW, WHAT'S THE STORY ESSENTIALLY FOR ME? WHAT AM I GRASPING ON TO AND WHAT DO I WANT VIEWERS WHEN, WHEN WALKING THROUGH THE PATH AND ON THIS YOU KNOW, TO THINK ABOUT AND SEE. AND SO WITH THAT, YOU KNOW WE'RE HE'S A HUNTER RIGHT. SO HUNTERS YOU KNOW, HAVE THE BOW AND ARROW, WHAT HAVE YOU. AND SO NATURALLY, YOU KNOW, I'M THINKING ACTION. YOU KNOW, WHAT'S AN ACTION POSE. BUT ALSO REALIZING KIND OF AS WE'RE HONING IN, YOU KNOW, I WAS LIKE, OKAY, I WANT HIM STANDING AND THINKING, ALL RIGHT, WELL, WHAT? YOU KNOW, HE'S ALREADY HOW MANY HAS HE ALREADY SHOT? HOW MANY ARROWS? AND SO AT FIRST I WANTED YOU TO SEE THE BOW STRING PULLED BACK. AND I WAS JUST USING A CIRCLE KIND OF AS A AS A FULL, ENCOMPASSING THING THAT HE'S HOLDING OBJECT AND WAS ABLE TO KIND OF PARE IT DOWN A BIT TO SIMPLY, YOU KNOW, HIM AND HIS BOW AND YOU KIND OF EVEN IN THE SKETCH, YOU CAN KIND OF BEGIN TO SEE HIM, YOU KNOW, THAT HIS ARM, HE'S KIND OF LEANING FORWARD INTO THIS MOTION. YOU BEGIN TO GET A SENSE OF MOVEMENT THERE. AND THAT'S WHAT I BEGAN TO KIND OF LATCH ON TO. AND THIS IS WHERE WE LANDED. AND SO HERE WE HAVE OUR HUNTER. YOU CAN ALMOST THINK OF HIM. HE'S AS IF HE'S RUN UP AND KIND OF JUST PAUSED. HIS SHOULDERS ARE BACK. HE'S LOOKING UP OUT TO SEA, YOU KNOW, LOOKING AT THE RESULT OF HIS HIS VOLLEY OF ARROWS THAT HE'S JUST SHOT OFF. AND THIS IS IN, YOU KNOW, RELATING TO THE DEER SCULPTURE. THERE'S ABOUT FIVE ARROWS THAT YOU SEE IN THAT SCULPTURE. AND SO TO ME, I'M THINKING OF HIM KIND OF RUNNING UP AND LOOKING AT WHAT HE'S JUST DONE AND, AND KIND OF ASSESSING, YOU KNOW, IT'S THAT MOMENT, THAT PAUSE WHERE HE'S EITHER GOING TO, YOU KNOW, PULL OUT ANOTHER ARROW AND TO KNOCK INTO THE BOW, OR IS HE GOING TO THEN JUST RUN UP, YOU KNOW, HE'S HE'S DONE HIS JOB AND HE'S GOING TO COLLECT THE PREY ESSENTIALLY. RIGHT. AND SO YOU KNOW THIS, YOU CAN HE YOU CAN SEE THE TEXTURE ON HIM IS VERY IT'S VERY INTENTIONAL. I'M THINKING ALMOST OF HIM BEING ALMOST IN THESE LIKE BROAD BRUSHSTROKES. IF YOU IF YOU, YOU KNOW, FROM A TEXTURAL STANDPOINT WHICH KIND OF HELPED CONVEY THIS FLUIDITY AND THIS MOTION IN THIS SLIGHT PAUSE, IN THAT, IN THAT MOTION THAT HE'S, THAT HE'S IN, AND YOU CAN KIND OF SEE HE'S HE'S LEANING HIS HIS BALANCE IS ON ONE LEG. THE OTHER LEG IS STARTING TO LIFT UP AS IF HE, YOU KNOW, HE JUST KIND OF PAUSED MID-STRIDE AND THEN IT'S GOING TO TAKE OFF AGAIN. OR LIKE I SAID, POSITION HIMSELF TO KNOCK ANOTHER BOW, ANOTHER ARROW INTO THE BOW. BUT WITH THIS, ONE OF THE THINGS I WANT TO THINK ABOUT, OR I HAVE BEEN THINKING ABOUT, WAS, YOU'LL SEE THAT. ADORNMENT WISE, HE'S PRETTY NEUTRAL, RIGHT? YOU KNOW, HE HAS THE A HEADBAND ON, THE BANDANA ON HE HAS. THERE'S TWO, THREE FEATHERS PROBABLY AT HIS WAIST AND TWO AT ON HIS LEFT BOOT. AND RIGHT NOW, BECAUSE WE'RE REPRESENTING THREE DIFFERENT NATIONS, I WAS THINKING, YOU KNOW, TO KIND OF BE ABLE TO HONE IN SOME OF THOSE ESTHETICS WITH THE STAKEHOLDERS IN PARTICULAR TO KIND OF SEE, YOU KNOW, DO WE WANT TO DO MAYBE ONE ELEMENT FROM EACH EACH NATION, OR DO WE WANT TO KIND OF KEEP A MORE NEUTRAL PALETTE OVERALL AND LET THE FORM BE REPRESENTATIVE OF, OF, YOU KNOW, BE THE HUNTER HIMSELF AND REPRESENTATIVE OF THE PEOPLE. AND SO THESE ARE SOME OF THE QUESTIONS AND THINGS IN SPACE THAT I'M LOOKING FORWARD TO, KIND OF, YOU KNOW, ENGAGING WITH, TO, TO, TO, TO HONE IN THE SCULPTURE JUST A BIT HERE. AND SO HERE YOU CAN SEE, YOU KNOW, FROM THE BACKSIDE YOU SEE THE ARROWS AND EVEN AGAIN, LIKE, YOU KNOW, THINGS TO ADDRESS, YOU KNOW, WHAT'S ON HIS WAIST, ETC. BUT THE YOU CAN SEE THE, THE TEXTURE, WHICH I THINK IS IMPORTANT BECAUSE THAT AGAIN IS ABOUT THE FLUIDITY. IT'S ABOUT MOVEMENT. AND YOU KNOW, IT. I THINK IT JUST KIND OF CAPTURES THE SPIRIT OF THE MOMENT A BIT THERE, AND I THINK IT PLAYS OFF THE OTHER, THE DEER SCULPTURE A BIT AS WELL. SO THERE'S THAT RELATIONSHIP THERE TAKING PLACE NOW FROM A UP NEXT TO THE DIMENSIONS AND MATERIAL.[00:20:03]
WELL, FIRST THE PLACEMENT AND LOCATION, YOU KNOW, SHOWS WHERE THE WHERE THE ARTWORK WILL BE.AND THE BLUE DOT I BELIEVE. SO THE HUNTER IS STANDING ABOUT SIX FOOT SIX FOOT THREE AND THEN THREE FEET WIDE, ROUGHLY IN TERMS OF HIS STANCE. NOW, AGAIN, YOU KNOW, I KEEP COMING BACK TO THAT STANCE BECAUSE THAT STANCE IS A BIT OF THAT, THAT READINESS IN THERE THAT I WANT TO I KIND OF KEEP COMING BACK TO. BUT HE'LL STAND ABOUT SIX FOOT THREE. AND THE MATERIALS THAT WE'RE LOOKING AT, WE HAVE THE PEDESTALS BELOW GRADE. I MEAN, THE CONCRETE FOOTER BELOW GRADE.
AND THEN HE'S CAST IN BRONZE. AS I MENTIONED, THE THERE WE'RE WORKING ON THINKING ABOUT HIM ACTUALLY EVEN BEING SLIGHTLY RAISED, EVEN AS IF STANDING ON A ROCK OF SOME SORT, MAYBE EVEN IN THAT TWO WOULD BE IN BRONZE AS WELL, I BELIEVE. SO, YOU KNOW, WE HAVE A FEW, YOU KNOW, A COUPLE OF MORE OPTIONS TO, TO, TO DECIDE HOW WE WANT THEM TO BE. BUT AND EVEN THAT I'M THINKING IT'S REALLY JUST TO KIND OF RAISE THEM UP JUST A BIT THERE. RIGHT. GIVE THEM A LITTLE BIT MORE OVERVIEW OVERSIGHT INTO THE AREA THAT HE'S LOOKING AT IN TERMS OF THE YOU KNOW, WHERE HIS PREY IS. LET'S SEE IT. THE LAST PIECE IN SITU. NOW HERE YOU CAN KIND OF GET A SENSE AGAIN. YOU KNOW THIS IS NOT THE WALKING TRAIL EXACTLY. BUT GET A SENSE OF THE, THE NARRATIVE IN THAT STORY AND THAT CONNECTION TAKING PLACE, YOU KNOW, SO YOU HAVE THE HUNTER, YOU HAVE THE DEER, THE ARROWS HAVING BEEN SHOT AND HIM PAUSING AGAIN TO TAKE A LOOK, TO SEE, YOU KNOW, TO ASSESS WHAT'S, WHAT'S TAKING PLACE. AND SO, YEAH, I THINK THIS IS, YOU KNOW, A GREAT WAY TO, TO DISPLAY THIS WORK, TO KIND OF DIVE INTO THESE CONCEPTS OF THE HUNTER AND REPRESENT THESE NATIONS. IT IS SOMETHING THAT I'M DEFINITELY LOOKING FORWARD TO, TO DIVING IN MORE TO KIND OF AGAIN, LIKE I SAID, HONE IN ON SOME OF THE DETAILED ESTHETICS. YOU KNOW, THE POSITIONING, YOU KNOW, WHETHER IT'S SLIGHTLY MORE RAISED, THE, YOU KNOW, ANY MORE ADORNMENTS, THINGS OF THAT NATURE. BUT I FEEL LIKE WE HAVE A GOOD BASE TO BEGIN THAT CONVERSATION, TO REALLY BEGIN TO, TO, TO BUILD TOWARD A WHOLESOME PIECE HERE FOR YOU. THANKS AGAIN. I'M TRULY, AGAIN, EXCITED TO KIND OF DIVE INTO THIS PROJECT AND THIS WORK. AND YEAH, LOOK FORWARD TO YOUR QUESTIONS. I'LL BE HERE READY TO TYPE IN ANSWERS, I BELIEVE, FOR ANY QUESTIONS THAT COME MY WAY.
ALL RIGHT. TAKE CARE. ALL RIGHT. YOU'VE SEEN THE PRESENTATION FOR WESLEY CLARK.
DO YOU HAVE ANY QUESTIONS OR COMMENTS? OKAY. IF THERE'S NO QUESTIONS OR COMMENTS, WE'LL GO TO OUR THIRD ARTIST. IS THAT DONE RIGHT HERE? YES. YOU CAN PUT IT RIGHT ON THE PODIUM. I CAN PUT IT IN THERE FOR YOU. I PUT SOME OF THE PICTURES ON MY MIND. AWESOME.
THIS IS SETH VANDERBILT. HE IS FROM CEDAR HILL LOCALLY, AND HE'S GOING TO DO THE NEXT PRESENTATION.
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REALLY APPRECIATE YOU BEING HERE AND BEING ABLE TO PUT ME ON THE MIC OKAY. CLICK ON LIKE CLICK ON ONE OF THE PICTURES. OH CAN YOU COME BACK. OH DO I NEED TO CLICK ON. CAN I CLICK ON LIKE THAT.YEAH. JUST CLICK ON ONE OF THEM SO YOU CAN HAVE LIKE A BACKDROP CLICK. AND YOU SHOULD BE ABLE TO JUST SCROLL SCROLL THROUGH LIKE THAT AND DECIDE THERE YOU GO. YEAH I LIKE THIS. SO IT HELPS YOU GO BACK AND FORTH LIKE THAT. THAT'S FINE OKAY. OKAY. AGAIN MY NAME IS SETH VANDERBILT. REALLY HAPPY EXCITED TO BE PART OF THIS. I FEEL LIKE I HAVE A LITTLE BIT HEAD START BECAUSE I ACTUALLY WAS ABLE TO GET THE TOUR FROM CAROL AND JULIE OF YOUR TOWN'S ART COLLECTION. AND SO I KIND OF GOT SOME CONTEXT. I KNOW WHAT YOU HAVE AROUND THE CITY, AND MY, MY FIRST THOUGHT WAS, HOW CAN I CREATE SOMETHING THAT'S GOING TO OBVIOUSLY ENHANCE THE ART COLLECTION, BE A NICE ADDITION AND COMPLEMENT WHAT YOU HAVE? THERE'S NOTHING QUITE LIKE THIS IN YOUR COLLECTION. THERE'S A REALLY NICE POLICE OFFICER AND FIREFIGHTER THERE, REALISTIC FIGURATIVE PIECES THAT ARE VERY DETAILED BUT A LITTLE STATIC. THIS IS A LITTLE THIS IS MORE DYNAMIC AND I THINK IT WOULD BE AN INTERESTING PIECE TO YOUR COLLECTION. BUT MOST OF ALL, WHEN I IN THE PRELIMINARY PRELIMINARY MEETING, HEARING THE FEEDBACK FROM THOSE THAT WERE HERE, THE MOST IMPORTANT THINGS THAT KIND OF STUCK WITH ME WERE YOU WANTED SOMETHING VERY AUTHENTIC, SOMETHING THAT WAS ACCURATE AS FAR AS REPRESENTATIONAL TO BLACKLAND PRAIRIE, NATIVE AMERICAN FIGURE. AND SO I GOT VERY SPECIFIC, PROBABLY DUG A LITTLE TOO DEEP.
I DON'T KNOW HOW MANY OF THESE MATERIALS WILL STAY OR GO, BUT I JUST WENT REALLY DEEP INTO LIKE, WHAT WOULD IF THE FIELD MUSEUM IN CHICAGO OR THE SMITHSONIAN WAS GOING TO HIRE AN ARTIST TO CAPTURE A BLACKLAND PRAIRIE NATIVE AMERICAN, PARTICULARLY A CADDO? WHAT WOULD WHAT WOULD THEY WANT TO SEE? AND IT WOULD BE EXACTLY WHAT WAS DESCRIBED AT THE MEETING WOULD BE VERY DETAILED. BECAUSE WE'RE HERE IN A MEETING AND WE CAN TALK ABOUT ALL THESE DETAILS. THIS IS A PIECE THAT'S GOING TO BE IN THE CITY FOR DECADES. AND WHEN PEOPLE COME UP TO THE PIECE, WHERE ARE THEY GOING TO LEARN ABOUT THE NATIVE AMERICANS AND WHAT ARE THEY GOING TO LEARN ABOUT THEIR HUNTING TECHNIQUES AND THEIR STYLE OF DRESS? AND SO I MADE EVERYTHING VERY SPECIFIC.
I DON'T KNOW HOW MUCH DETAIL YOU WANT ME TO GO INTO, BUT FROM. OH, THIS. OKAY. SURE. AND SO EVERYTHING IS VERY SPECIFIC. FROM THEIR STYLE OF JEWELRY, WHICH IN THIS CASE A HUNTER WOULD HAVE BEEN WEARING. THIS KIND OF NECKLACE WOULD HAVE BEEN MADE OF SHELLS LIKE FRESH WATER, CLAM SHELLS. AND IT COULD EITHER BE BEAR CLAW OR VERY OFTEN THEY WOULD ACTUALLY SHARPEN DEER ANTLERS AND TO LOOK LIKE A FROG. AND SO THAT'S PROBABLY WHY HE'S WEARING THIS HAIRSTYLE VERY SPECIFIC TO CADDO WARRIORS AND HUNTERS. AND I THOUGHT THAT WOULD BE ESPECIALLY INTERESTING IN THIS CASE BECAUSE IT'S, IT'S NOT A STEREOTYPICAL TYPE NATIVE AMERICAN PIECE THAT YOU WOULD SEE. IT MAKES IT VERY SPECIFIC TO THE REGION. SO I THOUGHT THAT WAS ESPECIALLY INTERESTING. EVEN THE JEWELRY, THE, THE, THE EAR SPOOLS, THAT'S A THAT WAS A VERY SPECIFIC AND EVEN THE, EVEN THE
[00:30:02]
DECORATIONS ON THE EARSPOOLS, THE SIX POINTED STAR OR EIGHT POINTED STAR KIND OF POINTED TOWARDS NATIVE AMERICANS AND THEIR APPRECIATION FOR SPIRITUALITY. SO THERE'S SO MANY DETAILS IN IT THAT WERE VERY SPECIFIC HOW AN ARROWHEAD IS ATTACHED TO AN ARROW SHAFT. IT'S NOT GLUED ON OR JUST TIED ON. THIS SHAFT IS SPLIT AND THE ARROWHEADS PUT IN THERE AND THEN TIED, AND YOU CAN'T GET VERY CLOSE TO THIS, I KNOW, BUT ALL THAT'S VISIBLE EVEN IN THE MAQUETTE. AND AGAIN, WE CAN DO EVEN MORE DETAIL WHEN IT COMES TO THE TO THE FINISHED SCULPTURE. I ALSO GREW UP IN THE HILL COUNTRY OF TEXAS WITH FRIENDS THAT ACTUALLY DID BOW HUNT, AND SO BOW HUNTERS, THEY DON'T. ESPECIALLY IF YOU'RE GOING TO HUNT WHITETAIL. YOU DON'T STALK A WHITETAIL, YOU WAIT THEM, YOU FIND WHERE THEY'RE GOING TO FEED OR GO FOR A DRINK, AND YOU HIDE AND YOU WAIT THEM OUT SO YOU WOULDN'T BE STALKING. HE'D BE CROUCHED. HE WOULD PROBABLY BE BEHIND SOME GRASSES OR EVEN A LOG, BUT THAT OBVIOUSLY WOULDN'T BE VISIBLY APPROPRIATE FOR THIS PIECE. BUT HE WOULD BE STALKED DOWN, HIDING, WAITING. AND I ALSO WAS ABLE TO. I WAS AT THE SITE. SO I KNOW KIND OF THE DISTANCE THAT WE'RE LOOKING AT BETWEEN THE TWO MONUMENTS. AND SO I ACTUALLY EVEN KIND OF DESIGNED IT. SO I FIGURED IT'D BE ABOUT 35 TO 40 YARDS SHOT. AND SO I EVEN THOUGHT ABOUT THE ANGLE OF HIS PULLING BACK THE BOW AND THE, THE TRAJECTORY OF THE ARROW, HOW IT WOULD TRAVEL TO REACH ITS TARGET. AND SO ALL THOSE LITTLE THERE'S SO MUCH THOUGHT THAT WENT INTO THOSE LITTLE THINGS, AND PERHAPS I OVERTHOUGHT IT.BUT I LEARNED A LOT, AND I THINK THAT WAS PART OF THE FUN, TOO. I ALWAYS THOUGHT THEY WERE WEARING A LOIN CLOTH, BUT IT'S A BREECHCLOTH. ACTUALLY, IT ISN'T THE LOIN CLOTH AT ALL, BUT IT WRAPS AROUND AND GOES FRONT TO BACK. AND SO ALL THOSE LITTLE DETAILS WERE ACTUALLY A LOT OF FUN TO DEVELOP. AND IT WAS IT WAS AN EDUCATION FOR ME AS WELL. SO I DON'T KNOW WHAT ELSE I COULD SAY, BUT IF YOU HAVE ANY QUESTIONS, I'D BE HAPPY TO FIELD THEM. SO THANK YOU. WHEN YOU DESIGNED THIS, YOU LOOKED AT THE WHITETAIL DEER, MEASURED THE DISTANCE AND PUT HIS CROUCH SPECIFICALLY SO AS IF IT'S HITTING THE DEER, RIGHT? OKAY. HOW TALL, HOW TALL WILL THIS BE? SO HE'S A LIFE SIZE FIGURE CROUCHED LIKE THIS. HE WOULD PROBABLY BE ABOUT 4.5FT ABOVE THIS BASE. THIS IS KIND OF JUST A REPRESENTATION OF A CONCRETE PLINTH THAT WE MIGHT USE. THE PROBLEM. AND I'VE INSTALLED, OBVIOUSLY, A LOT OF OUTDOOR MONUMENTS. THE PROBLEM WITH PUTTING SOMETHING LIKE THIS FLUSH IN A FIELD LIKE THIS, IT BECOMES THE HASSLE OF MOWING AROUND. AND BECAUSE THE GRASS WILL WANT TO MOVE ON TO THE PIECE, I WOULD JUST A RECOMMENDATION. I WOULD PUT HIM UP ABOUT 6 TO 12IN ON A CONCRETE PLINTH. I'M ALL I'M LOCAL. SO THE PIECE, IF I WAS CHOSEN, WOULD BE CAST IN ARLINGTON. MY STUDIO IS AN HOUR AWAY, SO WE WOULD WELCOME STUDIO VISITS AND TOWARDS THE LATTER PROCESSES OF SCULPTING, IF YOU ALL WANTED TO, IF PEOPLE WANTED TO COME BY AND APPROVE IT, FOUNDRY VISITS COULD BE MADE TO SEE IF THAT WAS. THIS IS AN OPTION, BUT OBVIOUSLY I HAVE NO TRAVEL BUDGET. I'M HERE. START TO FINISH. I CAN OVERSEE SITE PREPARATION AND EVERYTHING'S INCLUDED. THE BUDGET WILL COVER EVERYTHING. IF I WAS CHOSEN, THE LIGHTING, THE CONCRETE BASE, THE ENGINEERING, ALL THOSE THINGS. AS I UNDERSTAND, THERE'S ELECTRICITY OUT THE SITE. SO. YEAH. SO WILL THIS BE? SUPPORTED THAT WE DON'T PUT IN? IN THIS ONE? AND THIS IS THIS IS A LOST WAX. BRONZE. COMPLETE LOST WAX BRONZE. AND THERE'S OTHER ASPECTS TOO THAT HAVE TO BE THOUGHT OF WHEN YOU'RE PUTTING SOMETHING OUTDOORS LIKE THIS, AND ESPECIALLY IN A PLACE WHERE THERE'S FAMILIES. I NOTICED THAT LAST TIME YOU HAD LIKE A LITTLE FESTIVAL GOING ON OUT HERE, AND SO THERE'S GOING TO BE KIDS ALL OVER IT. AND SO EVEN A LOT OF THOUGHT INTO HOW I WAS GOING TO POSITION THE FINGERS AROUND THE ARROWHEAD SO THAT YOU DON'T HAVE THIS ARROW STICKING INTO SPACE SO THAT IT BECOMES A DANGER FOR PEOPLE. SO THERE'S ALL KINDS OF LITTLE DETAILS LIKE THAT THAT YOU MIGHT NOT YOU DON'T THINK OF WHEN YOU MAYBE RIGHT OFF THE BAT, BUT AFTER YOU'VE INSTALLED A FEW AND YOU REALIZE THERE'S SOME LIABILITY IF YOU DON'T COVER YOUR BASES, THEN EVERYTHING HERE AND EVEN HOW WATER RUNS OFF OF SOMETHING WHEN RAIN HITS A BRONZE, IF THERE'S IF THERE'S DEEP AREAS LIKE THIS, IT'LL PUDDLE AND IT BECOMES A CLEANING AND MAINTENANCE PROBLEM THAT WHEN EVERYTHING'S BACKFILLED AND DESIGNED SO THAT WATER RUNS OFF OF IT, IT MAKES IT MUCH EASIER TO MAKE IT BASICALLY MAINTENANCE FREE IF YOU SEAL THE BRONZE. SO MY QUESTION IS, YOU SAID THE FIGURE IS GOING TO BE ABOUT 4.5FT, AND THE BASE IS GOING TO BE ADDITIONAL TO THE BASE IS I WOULD RECOMMEND JUST A RECOMMENDATION. I WOULD SAY SOMEWHERE BETWEEN 6 AND 12IN TALL. BUT IT'S A, IT'S A, IT'S A SIX FOOT FIGURE BUT CROUCHING DOWN OBVIOUSLY THE HEIGHT GOES
[00:35:06]
FROM HERE TO MORE SPREAD OUT. BUT IT'S A IT'S A FULL LIFE SIZE FIGURE. SO THIS LOOK YOU WANT ME TO SCROLL THROUGH A FEW THINGS. SO WHATEVER IT IS OKAY. SO IF YOU PUT THIS COLOR ON THE WAS IT'LL BE BRONZE AND ON MY ON MY ON MY ON THE BOARD I ACTUALLY HAVE SOME PATINA. THAT'S ANOTHER THING I DO MY OWN METAL FINISHING AND PATINAS. AND SO IN PARTICULAR THESE CADDO WARRIORS, I DON'T KNOW IF I'VE GOT A PICTURE, BUT THEY WOULD HAVE A VERY SPECIFIC WAY OF PAINTING PART OF THEIR FACE RED. AND SO THESE ARE LIKE PATINA SAMPLES. AND LIKE I SAID, I VIEW ALL MY PATINAS. I COULD PUT LITTLE NICE DETAILS IN THERE, EVEN IN THE IN THE CHEMICAL FINISH THAT WOULD GIVE IT. YEAH. THESE ARE, THESE ARE THE THESE ARE THE PATINA SAMPLES THAT I COULD CREATE IF THAT WAS SOMETHING THAT WOULD BE DESIRED, NOT JUST A FLAT BROWN PIECE, BUT DO SOME SCULPTURING.THE VERY FIRST ONE LIKE AUSTRALIA, THAT WAS SIGNED ONE WITH BLACK HISTORY. SO IT IS GOING TO BE SIMILAR TO THIS. OR MAYBE YOU CAN YEAH, I CAN, I CAN DO ANY BRONZE FINISH. IT'S CAST BRONZE IS THE SAME MATERIAL. IT WAS THAT A COMPLETED SCULPTURE THAT WE WERE LOOKING AT EARLIER THAT I DON'T KNOW IF THAT WAS A AND IS THERE ANY LIGHTING WITH IT. LIGHTING. I'M SORRY.
LIGHTING. YES. HOWEVER, AS I SAID, I THINK THERE'S ELECTRICITY THAT RUNS UP TO THE SITE. AND SO YEAH, WE COULD PUT IN FRONT OF THAT. OBVIOUSLY LIGHTING. SO WOULD IT BE THE LIGHTING AROUND THE CONCRETE OR WOULD IT BE LIKE COUPLED UP. RIGHT LIGHTING AND JUST I MEAN, WHATEVER'S ASKED FOR IS I'D ALSO HAVE TO SEE WHAT KIND OF HOW ELECTRICITY'S RUN OUT TO THE SITE AND WHAT'S AVAILABLE. WE WOULDN'T WANT TO GO BACK UNDER A SIDEWALK IF WE CAN. I KNOW THERE'S A WALK THAT RUNS RIGHT ALONG IT, SO IT KIND OF DEPENDS ON WHERE MY BOX IS, WHAT WE CAN DO. BUT IF IT STAYS ON THAT SIDE OF THE SIDEWALK, WE CAN DIG AROUND AND PUT IT. YEAH, IT CAN BE STUBBED UNDERNEATH THE SIDEWALK. I DON'T THINK THAT'S A PROBLEM. SO WHEN WE GET THE EXACT SITE, THEN THEY WILL STUB BOTH WATER AND ELECTRICITY OUT, AND THEN YOU WOULD HAVE SOME COMMENT ON THE VEGETATION THAT'S USED AS WELL FOR ANY OF THE THREE ARTISTS. OKAY. ALL RIGHT.
I HAVE ONE QUESTION REGARDING SUE'S IN THIS ONE SCULPTURE DOESN'T HAVE A SUE'S DETAILING, BUT IN A PICTURE THERE IS LOTS OF DETAILING ON THE SHOES. SO HOW YOU ARE GOING TO CREATE THAT ON THE SHOES? YES. SO YEAH, I DON'T KNOW. RIGHT. LIKE THAT. SO I, I MEAN I TAKE A DIFFERENT APPROACH THAN THE ONE OF THE OTHER ARTISTS. I THINK IF YOU CAN'T DO IT SMALL, YOU CAN'T DO IT BIG. WITH ME, WITH THIS IS THE KIND OF DETAIL YOU'RE GOING TO GET ON A FINISHED PIECE AND EVEN OBVIOUSLY ON A LARGER PIECE, YOU CAN EVEN REFINE THE DETAIL MORE. BUT YEAH, IT EVERY DETAIL. THESE MOCCASINS ARE EXACTLY I THINK THAT WAS FROM A SET OF MOCCASINS FROM THE SMITHSONIAN OF THE TIME PERIOD AND THE IN THE REGION. AND SO EVERY DETAIL IS GOING TO BE THOUGHT THROUGH AND ACCURATE. AND SO THAT WE LED THE FIELD MUSEUM. AND SO THAT'S KIND OF MY THINKING IS I WANT TO MAKE SOMETHING THAT THEY WOULD BE PROUD OF. AND, YOU KNOW, THEY'VE GOT AREAS OF THE FIELD MUSEUM, HAVE VERY SPECIFIC TRIBES AND CULTURES AND EVERY EVERYTHING THAT THAT KIND OF TYPIFIES A TIME PERIOD FOR A DIFFERENT CULTURE. AND MY THOUGHT WAS, WHAT WOULD THEY WHAT WOULD THEY WANT TO SEE IN A BLACKLAND PRAIRIE NATIVE AMERICAN? AND THAT'S HOPEFULLY WHAT I'M TRYING TO DELIVER HERE. I JUST WANT TO ASK THAT YOU ALWAYS HAVE MENTIONED SOME OF THOSE ADDED POINTS IS NOT GOING TO BE AS SHARP, AND IT'S NOT GOING TO BE AS THE KIDS CAN OR ANYONE ELSE IS TRYING TO CLOSE BY THE UNIVERSITY. RIGHT? SO WHEN YOU KNOCK AN ARROW, DEPENDING ON HOW FAR BACK YOU PULL YOUR BOW, IF YOU PULL IT UP TO, YOU CAN PULL IT ALMOST TO THE KNUCKLE. YOU DON'T WANT TO, OTHERWISE YOU DON'T WANT IT TO SLIP UNDER YOUR BOW. BUT YOU CAN. THAT'S WHY I'VE GOT IT PULLED ALL THE WAY UP HERE AND KIND OF HIDDEN. SO IT'S, IT'S A FULL PULL, PROBABLY LIKE A 50 POUND PULL, BUT IT'S, IT'S SO YOU'VE GOT ALL THE TENSION, BUT IT'S KIND OF HIDING THE, THE POINT OF THE ARROWHEADS JUST FOR SAFETY PURPOSES. AND IT'S, IT'S RESTING ON THE FINGER CLOSER TO THE FINGER. CORRECT. RIGHT. OKAY. YEAH. RIGHT. AND SO
[00:40:04]
YEAH, THIS TIME PERIOD. SO THEY WENT KIND OF FROM LONG BOWS TO THEY WEREN'T REALLY RECURVES LIKE MINI BOWS ARE DEPICTED. IT'S THIS RECURVE BOWS KIND OF CAME LATER. SO THIS IS KIND OF A HYBRID LONGBOW. NOT QUITE RECURVE IN THIS TIME PERIOD. THEY ACTUALLY TAKE HORSE SINEW TO KIND OF REINFORCE THE BOW. SO YOU GET A LITTLE MORE TENSION OUT OF IT. BUT IT'S A VERY SPECIFIC BOW TYPE THAT WOULD BE USED IN BY A HUNTER OF THIS TIME PERIOD. AND SO THAT WAS THOUGHT THROUGH AS WELL. SO THE STRING WILL BE THERE, RIGHT? THE STRING WILL NOT BE THERE. BUT THAT'S A THAT'S KIND OF AN ARTISTIC LICENSE TO, TO IF YOU TRY TO CREATE THE, THE KIND OF THE THICKNESS OF THE GAUGE OF THE STRING TO GO HERE, IT'D BE SO THIN THAT PEOPLE WOULD DAMAGE IT. AND THIS GIVES IT A LITTLE IT GIVES IT A LITTLE ARTISTIC FLAIR WHERE YOU, YOU KNOW, YOU CAN LET YOUR IMAGINATION KIND OF FILL IN THE STRING. I THINK IT'S A BETTER, MUCH BETTER SOLUTION HERE AT IN BEST CASE SCENARIO, EVEN IF IT DOESN'T GET BENT, YOU'RE GOING TO IT'S GOING TO LOSE TENSION AT SOME POINT. AND SO YEAH, THAT'S THAT'S MY THOUGHT IS TO LEAVE THE STRING OUT AND LET THAT BE KIND OF. THE STRING FOR A TENSION, BUT JUST FOR. VISUALIZATION. LOOK. LIKE IT CAN BE TENSION, BUT WITHOUT IT KIND OF LOOKS LIKE A ARTIFICIAL. IF WE'RE GOING TO MAKE COMMENTS FROM THE AUDIENCE, IF YOU COULD STAND UP TO THE MICROPHONE SO THAT WE CAN RECORD IT. SO WHAT DO YOU WHAT DO YOU THINK? OKAY. ARE THERE ANY MORE QUESTIONS? OKAY, SETH, IF YOU DON'T MIND LEAVING YOUR MOQUETTE. YEAH. THEN THE PANEL WILL MAKE DISCUSSIONS NOW ABOUT SELECTION AND. YEAH, YOU CAN GO. SHOULD I LEAVE ALL THE MATERIALS I WOULD YES, YES. RIGHT THERE.WHEN YOU MOVE THIS IT'S SEPARATE FROM THIS TURNTABLE. YEAH. THEY WILL ACTUALLY WALK DOWN THERE AND WALK AROUND IT AND IT TURNS SO YOU CAN. YEAH. YOU DON'T HAVE TO. RIGHT. ALL RIGHT. WELL THANK YOU FOR YOUR TIME. APPRECIATE IT EVERYBODY. THANK YOU SETH. THANK YOU SO MUCH. OKAY. WE CAN GO INTO DISCUSSION NOW ABOUT THE THREE PRESENTATIONS THAT YOU'VE SEEN TODAY. I WOULD START WITH JEREMY BECAUSE HE'S GOING TO SPEAK TO AUTHENTICITY. THANK YOU. I WAS I WAS HOPING TO GO LAST. BUT A LOT OF PRESSURE. BUT FIRST I WANT TO SAY THANK YOU TO THE ARTIST AND THE PANEL. REALLY AMAZING WORK HERE FROM ALL OF THEM. GILEAD. MARK, MAKE SURE I GOT THAT RIGHT. YEP. GILEAD.
MARK REALLY IMPRESSED WITH THE ATTENTION TO DETAIL ON THE ON THE CAST BRONZE TEXTURES. HAD SOME CONCERNS ABOUT THE BUDGET BUDGET ON THAT ONE, BUT OTHER THAN THAT, I THOUGHT THAT WAS JUST IT WAS A REALLY EXCEPTIONAL DRAWING. I'M REFERRING TO THE TO THE VERY FIRST ONE. WESLEYAN CLARK. HE EMPHASIZED THE IDEA OF MOTION, AND AS HE WAS GOING THROUGH HIS PRESENTATION, I. I LOVE THAT ATTENTION TO THE MOTION AS I WAS AS HE WAS SHOWING US THE DIFFERENT ANGLES, I WAS ABLE TO VISUALIZE. AND THE THING THAT I LIKED ABOUT IT WAS AT EVERY ANGLE I COULD VISUALLY, YOU KNOW, SORT OF ANTICIPATE WHAT THAT HUNTER, IN THAT CASE, THAT INDIVIDUAL WAS LOOKING AT THE ARROWS, EVERYTHING, YOU KNOW, SEEMED TO MAKE SENSE. AND I BELIEVE IT OR NOT, IT TOOK ME OFF GUARD. BUT I DID KIND OF LIKE THE IDEA OF NEUTRALITY IN THE IN THE PALETTES. AND OF COURSE, SETH, I WAS VERY, VERY IMPRESSED WITH WITH SETH'S WORK. IT WAS VERY EXCEPTIONAL. AND I'M FROM A SISTER TRIBE TO THE CADDO PEOPLE, SO AND I HAVE A LOT OF CATTLE FRIENDS REALLY LOVED IT.
IT WAS VERY SPOT ON. ATTENTION TO DETAIL. YEAH. IT WAS IT WAS JUST IT'S AN AMAZING THE OTHER THING. SO I HAD SOME QUESTIONS ABOUT THAT. BUT AND I THINK THE THIGH OF WHETHER OR
[00:45:01]
NOT THAT APPEARED TO BE A TATTOO OR SOME KIND OF DESIGN ON IT, BUT YEAH, VERY, VERY IMPRESSED WITH SETH'S WORK, VERY, VERY IMPRESSED WITH HIS WORK. SO THAT'S MY INITIAL THOUGHTS. I DON'T WANT TO. YEAH. BUT AS FAR AS REPRESENTATION, CULTURAL REPRESENTATION, HE NAILED IT.I'LL SAY THAT. HE NAILED IT. AND I WAS VERY, VERY SURPRISED TO SEE THAT BECAUSE FROM MY TRIBE, I'M TUNICA-BILOXI AND CHOCTAW TUNICA IS AN ISOLATE WHERE SISTER TRIBE TO CHOCTAWS, MUSKEGON, BILOXI, SIOUX. SO I SPEAK ALL THREE LANGUAGES. AND TO SEE THAT SOMEONE ACTUALLY WAS ABLE TO CAPTURE THAT DETAIL, IT STANDS OUT. IT'S VERY, VERY NOTICEABLE. AS TO THE OTHER, WHICH WAS OKAY. THE FIRST WAS SUING. SO THAT'S THE DIFFERENCE. BUT AND THEY'RE OKAY BECAUSE YOU DO HAVE, YOU KNOW, THOSE THOSE DIALECTS IN THIS REGION. BUT SETH'S WAS VERY, VERY SPOT ON.
I'LL LEAVE IT THERE. I'M GOING TO TURN IT OVER TO MY COLLEAGUES. THANK YOU. THANK YOU. YEAH. SO AS FAR AS GILLIE AND MARC, I FEEL THE SAME WAY. VERY DETAILED. WHAT I HAD QUESTIONS ABOUT IS. AND YOU KIND OF ANSWERED THOSE ARE THESE SPECIFIC FEATURES. SPECIFIC TO THE CADDO INDIANS. AND IT DOESN'T SOUND LIKE THEY ARE, BUT IT'S KIND OF A MIXTURE OF ALL I CAN. I CAN DEFINITELY SAY THAT. MY PARTNER HERE IDENTIFIED SOMETHING THAT'S KIND OF GOT ME A LITTLE CONFUSED, BUT AS FAR AS GILLIAM MARK, LIKE I SAID, VERY DETAILED. I LIKE THE FACT THAT THEY HAVE THE FIRST ONE WHERE HE'S ACTUALLY CROUCHING. THE REASON I ASKED ABOUT HOW TALL THE PEDESTAL WAS GOING TO BE, BECAUSE THE ARROWS AIMING DOWN, AND IF THE AND IF THE WHITETAIL DEER IS STRAIGHT ACROSS. I WAS CONCERNED WITH THE ARROW BEING DOWN IF IT WAS GOING TO BE FLAT.
SO THAT'S ONE OF THE REASONS I ASKED HOW BIG THE PEDESTAL WOULD BE. AND AS FAR AS THE SECOND ONE, I THOUGHT IT WAS GOOD. I THOUGHT IT WAS GOOD. AS FAR AS WESLEY CLARK. WHEN I FIRST SAW IT, IT TOOK ME BACK, BUT THEN I HAD TO UNDERSTAND THIS IS CLAY. AND WHEN HE STARTED TO EXPLAIN MOTION, I DID. YOU CAN SEE THE FLOWING OF THAT. NOW HE'S NOT AS DETAILED WHEN IT COMES TO CLEAN LINES. HE HAS MORE INDENTATIONS AND THINGS LIKE THAT. BUT OVERALL, AS HE START TO ROTATE THE PIECE, I COULD SEE IT, I COULD, I COULD REALLY UNDERSTAND WHERE HE WAS GOING. I LIKE THE FACT OF TAKING A PAUSE, BECAUSE IF YOU LOOK AT THE WHITETAIL DEER, IT HAS SEVERAL, SEVERAL ARROWS GOING INTO HIM AND YOU COULD SEE THE CADDO INDIAN TAKING A PAUSE TO SEE, IS IT IS THAT ANIMAL DEAD YET? SHOULD I GO AND PICK IT UP? LET'S LET ME TAKE A MINUTE AND LOOK AT IT SO I COULD SEE IT FROM THE DISTANCE BETWEEN. SO THAT WAS REALLY, REALLY GOOD. AND AS FAR AS SETH, EVERYTHING ABOUT SETH, I REALLY LIKE HIS ATTENTION TO DETAILS. MOSTLY IMPORTANT, RESEARCHING WHAT HE WAS GOING TO CREATE THAT THAT'S PIVOTAL FOR ME. WHENEVER YOU GO TO CREATE SOMETHING THAT'S GOING TO REPRESENT A CULTURE, YOU WANT TO MAKE SURE THAT YOU GET ALL THE DETAILS CORRECT, EVEN DOWN TO THE SHOES. THAT WAS ONE OF THE FIRST THINGS I NOTICED WHEN HE SHOWED THE FIRST PICTURE THE SHOES, THE HAIR. AND I COULD JUST TELL THAT HE HAD DID A LOT OF RESEARCH TO KNOW THAT IT'S NOT JUST. A JUST AN INDIAN. THIS IS A CADDO INDIAN. AND WHEN YOU SEE THAT, YOU'LL KNOW THAT IT'S A CADDO INDIAN. EVEN DOWN TO THE JEWELRY, THEY WORE, THE BOW, MAKING SURE THE BOW WAS CORRECT. SO THAT WAS THAT WAS IMPORTANT. SO I LOVE SETH. SO NOW I WILL MAKE ONE CLARIFICATION. WHEN WE SENT THE INFORMATION OUT, WE GAVE THEM THE OPTION TO GO GENERIC BECAUSE THERE WERE THREE TRIBES THAT ACTUALLY HUNTED THE BLACKLAND PRAIRIE PROMINENTLY.
OKAY. SO THEY COULD HAVE GONE EITHER WAY. OKAY, OKAY. MAKES SENSE. MY QUESTION WHEN WE ASKED THEM TO CREATE THESE SAMPLES, THESE EXAMPLES, WERE THEY SUPPOSED TO USE THEIR OWN CREATIVITY OR THEY COULD HAVE JUST PULLED UP SOMETHING FROM THE INTERNET. THEY WERE SUPPOSED TO USE THEIR OWN CREATIVITY AND COME UP WITH AN ACTUAL MAQUETTE. YES. OKAY. WELL, LOOKING AT EVERYTHING AND THIS IS MY PERSONAL OPINION, WHEN I LOOK AT SETH'S WORK, IT REALLY SPEAKS TO
[00:50:03]
ME BECAUSE OF THE AMOUNT OF DETAIL THAT HE HAS ADDED TO IN TERMS OF RESEARCH, VERY THOROUGH. LIKE YOU SAID, HE COULD HAVE GONE TO ANY NATIVE TRIBE, BUT HE CHOSE CADDO. THE DETAILS, THE JEWELRY, THE ATTIRE, THE HAIR, THE. I LOVE EVERYTHING ABOUT WHAT HE HAS PUT TOGETHER. MY ONLY CONCERN WOULD BE THE HEIGHT OF THE SCULPTURE, BECAUSE IT'S BEING IN A PARK OR A WALKING TRAIL WHERE CHILDREN WILL BE AROUND. THIS IS ONLY ONE OF MY CONCERNS. I LOVE THE WAY HE THOUGHT ABOUT THE ARROW BEING INWARD LIKE BEFORE THE FINGERS, SO THAT IT'S NOT POINTED OUTWARD, SO IT'S VERY SAFE FOR THEM. IT DEPENDS UPON HOW YOU SITUATE THAT WHERE WE ARE GOING TO BE PUTTING THIS INTO. THAT'S MY ONLY CONCERN. BUT APART FROM THAT, I LOVE THE WAY HE TOLD A STORY, TOOK TIME TO DO HIS RESEARCH, AND DESIGNED IT IN A WAY THAT WOULD COME UP AS A VERY CREATIVE DESIGN FOR US. NOW, IN TERMS OF WESLEY, I HAVE THE SAME OPINION AS MY FRIEND HERE.LITTLE DESCRIPTIVE. I MEAN, IN TERMS OF DETAILS, I DON'T THINK THAT COULD BE MORE POLISHED. I THINK BECAUSE IT'S ALWAYS ALSO ON CLAY. AND PLUS HE SAID SOMETHING ABOUT THIS IS ALSO GOING TO BE LIKE WE ALL OVER PROMISE AND WE OVER DELIVER. SO THAT'S WHAT I HEARD IN HIS, HIS PRESENTATION. AND I I'M SURE HE HAS A WONDERFUL SET OF WORK AND EXPERIENCE, BUT I FEEL THAT MY.
OPINION TOWARDS SETH'S WORK WOULD BE MORE TOWARDS THIS PART. NOW IN TERMS OF. GILLIE AND MARC, I WAS SIMPLY BLOWN AWAY WHEN I SAW IT THE FIRST TIME. I WAS LIKE, WOW, LOOK AT POSE ONE, LOOK AT POSE TWO. THIS IS SO BEAUTIFUL. THIS IS SUCH A SUCH A CLEAN LINES FINESSE FINISHING BEAUTIFUL. THEY HAVE GIVEN US TWO POSES, ONE ACTUALLY AT AN ANGLE, THE OTHER ONE VERY NEUTRAL. YOU KNOW, EXPRESSION ON THE FACE. AND THEN I WAS JUST KIND OF I DON'T KNOW IF I SHOULD PUT IT THERE, BUT I WAS JUST KIND OF BROWSING THROUGH AND I SAW SOME OF THESE PICTURES ONLINE AS WELL. YES. SO I MEAN, I THINK THAT WAS THEIR INSPIRATION, I GUESS. I'M NOT SURE. SO ANYWAY, SO BASED ON WHAT IT IS, IT LOOKS GORGEOUS, BUT I DON'T KNOW HOW CREATIVE THAT WAS. SHE FOUND AN EXACT MATCH. BOTH OF THEM. BOTH OF THEM. SO I'M NOT SURE HOW. AND THIS DEPICTS THE NATIVE AMERICAN AS YOU SAID, IT COULD BE ANY. SO YEAH, THAT WAS GOOD. AND THERE WERE COMMENTS FROM ANOTHER ARTIST ABOUT THAT AS WELL. OKAY. YEAH. SHE'S. ASKING.
ME NOT TO LIKE. THANK YOU. OKAY. SO. YEAH, NOW IT'S ON. OKAY. SO IT'S MY TURN, BUT I, I AM NOT ABLE TO SAY ANYTHING. ALL THREE ARE AMAZING. FIRST I WILL START WITH THE MARC. HERE IS THE. IT LOOKS LIKE A VISIBLE ART MAINLY FOR ME. IT'S NOT WHEN I SEE THE VIDEO FOR THE SCULPTURE FOR THIS ONE. SO IT WAS NOT THAT MUCH DETAILING FOR SURE AND IT WAS NOT. THE PICTURE WAS ALSO NOT CLEAR VISIBLE. IT WAS LOTS OF TEXTURES HE USED. SO WE ARE LOOKING THE DETAILING WORK RIGHT? SO IN A DETAILING WORK, IF WE USE THAT MUCH TEXTURES, IT WILL NOT WORK FOR MY PERSPECTIVE. SO AND. AFTER THAT HERE WAS ALSO I SAW. ESPECIALLY FOR THIS ONE. HE USED LOTS OF IT. THIS ONE. SO WE ARE LOOKING DETAILING WORK AND THIS ONE OF FOR MY ANGLE AND THE DISTANCE OF THE HUNTING. AND THIS ONE HE USED. THAT IS GOOD. BUT THE DETAILING WAS NOT ACCEPTABLE FOR ME. AND FOR THIS, THIS PROJECT. YEAH, DEFINITELY. HERE IS THE DETAILING. DETAILING WORK IS
[00:55:07]
HERE. AND WHATEVER THE HE EXPLAINED THAT WAS ALSO AMAZING EXPLANATION WISE AND WHAT THE PROJECT HARD WORK I CAN SEE IN FRONT OF US. SO THAT WAS YEAH IMPRESSED ME, BUT STILL DECISION IS UPON YOU GUYS. BUT FOR MY PERSPECTIVE THAT IS. YEAH. SO WHICH ONE ARE YOU AIMING TOWARDS? YEAH. FOR THE THIS ONE. THIS IS THE GRILL RIGHT. YEAH. THIS ONE. WHICH POSE. OKAY.WHICH POSE. THIS ONE SAYING THOSE. TWO WORDS. POSE ONE. POSE ONE POSE ONE. YEAH. IT IS THE DETAILING. AND THIS ALL THE PICTURES ARE NOT THAT MUCH CLEAR. SO I CANNOT SHOW YOU. BUT YEAH, THIS ONE IS FROM LIKE I DON'T KNOW WE'LL HAVE. ANOTHER THING THAT I WANT TO COMMENT ON IS THAT WITH ANY OF THIS ART, ACCORDING TO OUR GUIDELINES, IT HAS TO BE ORIGINAL ART. IT CAN'T BE A REPLICA OF ANYTHING ELSE. THAT WAS MY QUESTION. WAS YOUR COMMENT WAS THAT IT WAS A DUPLICATE? YES, YES. IT'S ONLINE, NOT THIS ONE. THE FIRST ONE. THE FIRST ONE. OKAY. SO THIS IS A DIFFERENT ARTIST. YES. SHE FOUND THAT AI GENERATED PICTURE. SO SHE FOUND OF BOTH POSE ONE AND POSE TWO, POSE ONE AND POSE TWO. BOTH. YOU FOUND IT. OH, OKAY. OKAY. BARBARA.
OKAY. YEAH. OH. I HAD APPLIED. THERE IS TOO MUCH DETAIL THAT I DIDN'T KNOW. I HAD A PROBLEM WITH THE AUTHENTICITY OF GILLIAN CLARK FROM AUSTRALIA TO BEGIN WITH, AND I FIND IT VERY DISCONCERTING THAT IT IS THE. OUT. SO WE SIT DOWN. I MEAN, WE'RE NOT JUDGING IT. SO IF SOMEBODY CREATED BARBARA, I FOUND IT VERY DISCONCERTING THAT THEY ARE PREEXISTING ART. I HAD A PROBLEM WITH THE, THE, THE BOW AND POSE ONE ON GILLIAM ART. IT'S A EUROPEAN RECURVE. AND ALSO THE NATIVE AMERICAN HAS A HEEL ON HIS BOOT, AND THAT DID NOT EXIST. I FOUND THEM TO BE EXTREMELY DETAILED, ANATOMICALLY CORRECT, BUT KIND OF STATIC. AND THAT'S ONE THING THAT WE WANTED WAS DYNAMICS. WESLEY CLARK'S YOU DEFINITELY GET DYNAMIC. YOU GET A SENSE OF MOTION. YOU GET THE ABSTRACTION DOES NOT BOTHER ME. THE LACK OF ANATOMICAL CORRECTNESS WAS MY PROBLEM WITH THAT ARTIST IN THE BEGINNING. AND THE INITIAL EVALUATIONS. THAT'S MY OPINION OF THOSE TWO.
AND BUT SETH VENABLE HAS DONE HIS HOMEWORK. HE'S SHOWN A WILLINGNESS TO STUDY, TO WORK, TO BE PRESENT. HIS MAQUETTE IS EDUCATIONAL TO ME BECAUSE I THOUGHT THAT WAS A MOHAWK HAIRDO. AND IT IT NOW IT'S CADDO ALSO. BUT HANDS DOWN, I THINK SETH HAS MY VOTE. THANK YOU. SO, LADIES AND GENTLEMEN, ARE WE READY TO TAKE A VOTE? OKAY, IF YOU LOOK IN YOUR. PACKET OR I DON'T THINK WE PUT A I THINK WE GOT A MOTION. YEAH. WHICH ONE IS THIS? PODIUM, NOT PODIUM. DO YOU PUT THAT ONE BEFORE? BUT THERE WE GO. OKAY. BEAUTY. OKAY. YOU MIGHT HAVE TO DO A HAND VOTE.
OKAY. THAT'S ALL RIGHT. I HAVE THE SAME PROBLEM. WE WILL NEED A MOTION AND A SECOND, AND THEN ALL THOSE IN FAVOR WILL RAISE THEIR HAND. SO MOVE FOR THE APPROVAL OF THE SAME. RIGHT.
[01:00:12]
I'LL MOVE TO APPROVE. SETH VANDERPOOL. THAT'S THE FINAL. I SECOND THE MOTION. I THIRD THE MOTION. ALL THOSE IN FAVOR, RAISE YOUR HAND. OKAY, OKAY. MOTION PASSES. MOTION. NOW, WE'LL NEED A MOTION FOR ADJOURNMENT. OH. I MOVE THAT. WE ADJOURN. SECOND. SECOND. THE MOTION TO ADJOURN. THIRD MOTION TO ADJOURN. THANK YOU ALL SO MUCH FOR BEING ON THIS COMMITTEE. I REALLY APPRECIATE IT. AND THIS THIS WILL GO TO COUNCIL MORE THAN LIKELY THE SECOND MEETING IN JANUARY. AND WE WOULD LOVE FOR YOU TO COME TO THAT MEETING AND SUPPORT THE CHOICE IF YOU CAN. AND I WILL EMAIL YOU WHEN IT GOES ON THE AGENDA. THANK Y* This transcript was compiled from uncorrected Closed Captioning.