Public Art Committee — Portland, ME
Date: 2026-03-18
Time: 16:00

Anna Berke, Chair
 Sharon Dennedy, Vice Chair
 Kat Zagaria Buckley
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor appointee
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King, Urban Designer with Planning & Urban
 Development Department



 PORTLAND PUBLIC ART COMMITTEE
 Wednesday, March 18, 2026
 4:00 PM Hybrid Meeting (Room 209 of City Hall or online via Zoom)

1. Zoom Meeting Information
 Due to the existence of an emergency or urgent issue the Portland Public Art Committee will
 conduct this meeting by remote methods/technology at the Zoom link provided below, in
 accordance with the requirements of 1 M.R.S. section 403-B and the City Council's Remote
 Participation Policy.

 Allow your computer to install the free zoom app to get the best meeting experience.
 For more information on how to use Zoom, please go to:
 https://content.civicplus.com/api/assets/18148b5d-f26e-472f-8d2c-245db97e5c27?cache=1800
 Public
 Public comment will be taken; written comments may be submitted to
 publicart@portlandmaine.gov

 Please click the link below to join the webinar:

 https://portlandmaine-gov.zoom.us/j/81634418875

 Or One tap mobile : US: +19292056099,,81634418875# or +13017158592,,81634418875#
 Or Telephone: Dial (for higher quality, dial a number based on your current location):
 US: +1 929 205 6099 or +1 301 715 8592 or +1 312 626 6799 or +1 669 900 6833 or +1 253 215
 8782
 or +1 346 248 7799
 Webinar ID: 816 3441 8875
 International numbers available: https://portlandmaine-gov.zoom.us/u/kcytm2arCM

2. Call to Order (4:00 pm)

 • Roll call
 • Minutes from February 18, 2026 meeting. (see attachment)
3. Staff Communication (4:05 pm) - No public comment will be taken
 A. Public Art Program
 Presenter: Sean King
 1. Public art fund (See Attachment)
 2. Collection updates
 a. Major Charles J. Loring Memorial (Eastern Promenade)

 B. Encumbrances for new acquisitions of public art: No updates
 Presenter: Sean King
4. Subcommittee Reports (4:08 pm)
 A. Governance/Board Development (Zagaria,Buckley and Dennehy)
 1. Committee chair updates
 2. FY26 Annual Plan & Proposed Budget FY27 (see attachment for draft)

 B. Acquisitions Subcommittee (Cole, Hrenko and Zagaria)
 1. Subcommittee member updates

 C. Communications Subcommittee (Motter, Berke and Whipple)
 1. Subcommittee members to share

 D. Collection Management Subcommittee (Dennehy, Berke, Zagaria and Buckley)
 1. Subcommittee member updates
 2. Conservation assessment FY26
 3. Collection items
 a. Jewel Box - Staff requested to gather information on past expenditures and coordinate
 with METRO for bus operations along Congress Street.
5. Project Reports (4:20 pm)
 A. Public art acquisition selection committee at Portland Harbor Common (Dennehy, Cole,
 Levesque & Zagaria)
 1. Round 1 artist submission (see attachment for staff memo)
 2. Selection committee artist recommendations for Committee discussion
 3. Public comment
6. Other Business (4:50 pm)
7. Meeting Adjourns

Next Meeting - April 15, 2026

Anna Berke, Chair
 Sharon Dennedy, Vice Chair
 Kat Zagaria Buckley
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor appointee
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King, Urban Designer with Planning & Urban
 Development Department



 PORTLAND PUBLIC ART COMMITTEE
 Wednesday, March 18, 2026
 4:00 PM Hybrid Meeting (Room 209 of City Hall or online via Zoom)

1. Zoom Meeting Information
 Due to the existence of an emergency or urgent issue the Portland Public Art Committee will
 conduct this meeting by remote methods/technology at the Zoom link provided below, in
 accordance with the requirements of 1 M.R.S. section 403-B and the City Council's Remote
 Participation Policy.

 Allow your computer to install the free zoom app to get the best meeting experience.
 For more information on how to use Zoom, please go to:
 https://content.civicplus.com/api/assets/18148b5d-f26e-472f-8d2c-245db97e5c27?cache=1800
 Public
 Public comment will be taken; written comments may be submitted to
 publicart@portlandmaine.gov

 Please click the link below to join the webinar:

 https://portlandmaine-gov.zoom.us/j/81634418875

 Or One tap mobile : US: +19292056099,,81634418875# or +13017158592,,81634418875#
 Or Telephone: Dial (for higher quality, dial a number based on your current location):
 US: +1 929 205 6099 or +1 301 715 8592 or +1 312 626 6799 or +1 669 900 6833 or +1 253 215
 8782
 or +1 346 248 7799
 Webinar ID: 816 3441 8875
 International numbers available: https://portlandmaine-gov.zoom.us/u/kcytm2arCM

2. Call to Order (4:00 pm)

 • Roll call
 • Minutes from February 18, 2026 meeting. (see attachment)


 Page 1
3. Staff Communication (4:05 pm) - No public comment will be taken
 A. Public Art Program
 Presenter: Sean King
 1. Public art fund (See Attachment)
 2. Collection updates
 a. Major Charles J. Loring Memorial (Eastern Promenade)

 B. Encumbrances for new acquisitions of public art: No updates
 Presenter: Sean King
4. Subcommittee Reports (4:08 pm)
 A. Governance/Board Development (Zagaria,Buckley and Dennehy)
 1. Committee chair updates
 2. FY26 Annual Plan & Proposed Budget FY27 (see attachment for draft)

 B. Acquisitions Subcommittee (Cole, Hrenko and Zagaria)
 1. Subcommittee member updates

 C. Communications Subcommittee (Motter, Berke and Whipple)
 1. Subcommittee members to share

 D. Collection Management Subcommittee (Dennehy, Berke, Zagaria and Buckley)
 1. Subcommittee member updates
 2. Conservation assessment FY26
 3. Collection items
 a. Jewel Box - Staff requested to gather information on past expenditures and coordinate
 with METRO for bus operations along Congress Street.
5. Project Reports (4:20 pm)
 A. Public art acquisition selection committee at Portland Harbor Common (Dennehy, Cole,
 Levesque & Zagaria)
 1. Round 1 artist submission (see attachment for staff memo)
 2. Selection committee artist recommendations for Committee discussion
 3. Public comment
6. Other Business (4:50 pm)
7. Meeting Adjourns

Next Meeting - April 15, 2026




 Page 2
 Kat Zagaria Buckley, Chair
 Sharon Dennehy, Vice-Chair
 Anna Berke
 Phoebe Cole
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King, Urban Designer with Planning & Urban Development Department

 PORTLAND PUBLIC ART COMMITTEE
 February 18, 2026 MINUTES
 4:00 p.m. – 6:00 p.m. HYBRID (in person or online via Zoom link)
 City Hall – Room 209 (2nd floor), 389 Congress Street, Portland, ME 04101

 Due to the existence of an emergency or urgent issue the Portland Public Art Committee will conduct
 this meeting by remote methods/technology at the Zoom link provided below, in accordance with the
 requirements of 1 M.R.S. section 403-B and the City Council's Remote Participation Policy.

 Allow your computer to install the free zoom app to get the best meeting experience.

 For more information on how to use Zoom, please go to:
 https://content.civicplus.com/api/assets/18148b5d-f26e-472f-8d2c-245db97e5c27?cache=1800 Public

 Public comment will be taken; written comments may be submitted to publicart@portlandmaine.gov

 Please click the link below to join the webinar:
 https://portlandmaine-gov.zoom.us/j/81634418875
 Or One tap mobile : US: +19292056099,,81634418875# or +13017158592,,81634418875#
 Or Telephone: Dial(for higher quality, dial a number based on your current location):
 US: +1 929 205 6099 or +1 301 715 8592 or +1 312 626 6799 or +1 669 900 6833 or +1 253 215 8782
 or +1 346 248 7799
 Webinar ID: 816 3441 8875
  International numbers available: https://portlandmaine-gov.zoom.us/u/kcytm2arCM
 ------------
1. Call to Order
 • Roll call
 o  Committee members present – Zagaria Buckley, Cole, Dennehy, Levesque, Michniewicz,
 Whipple; Committee members absent – Berke, Hrenko, Motter, , Wilson
 • Minutes from January 21, 2025 meeting. (See Attachment).
 o Motion to approve (Dennehy), Second (Whipple), All approved by a show of hands

2. Staff Communication (No public comment will be taken)
 A. Public Art Program
 Presenter: Sean King
 1. Public art fund – Contingency funds for emergency repair at Jewel Box. (See
 Attachment). Staff introduced incident with broken glass panel and quote of $1,440 to
 clean and replace.
 2. Conservation assessment FY26. Staff in communication with Tuckerbrook Conservation
 LLC to finalize contract.

 Page 3
 B. Encumbrances for new acquisitions of public art: No updates
 Presenter: Sean King

3. Subcommittee Reports (No public comment will be taken)
 A. Governance/Board Development (Zagaria Buckley, Dennehy)
 1. Committee chair updates. Chair recommendation for suggested times be added to
 future agendas, Committee member Alison Gibbs resignation. Committee term
 expirations approaching for several Committee members, reminder to reapply if
 interested to continue on Committee and participate in May interviews.
 2. Committee member feedback for FY26 Annual Plan & Proposed budget FY27. Chair
 introduced the FY26 Annual Plan to discuss draft during March 18th PPAC meeting.
 Committee members discuss formatting of annual plan.

 B. Acquisitions Subcommittee (Cole, Hrenko, Zagaria, Levesque)
 1. Subcommittee member updates. Provided bullet points to include within the FY26
 Annual Plan.
 2. Gift updates from Judith Kendrick and Jim DiBiase. No updates

 C. Communications Subcommittee (Motter, Berke)
 1. Subcommittee members to share updates. Provided bullet points to include within the
 FY26 Annual Plan. Goal to broaden city-wide communication and connect with City’s
 communication department social media posts to reach larger audience. Committee
 members discuss opportunities for public engagement, such as workshops, forums and
 other collaboration ideas.

 D. Collection Management Subcommittee (Dennehy, Berke, Zagaria Buckley)
 1. Subcommittee member updates. Provided bullet points to include within the FY26
 Annual Plan.
 2. Jewel Box – Staff gathering information from other departments, expenditures to date
 and comparison with other bus shelters along Congress Street. Committee members
 requested Staff coordinate a meeting with METRO to understand plan for Congress
 Street corridor and bus shelter maintenance. Committee members discuss recent
 broken glass and replacement; Motion to approve funds for the emergency expenditure
 (Michniewicz), Seconds (Whipple) – Roll call Vote (4-2) Motion passes.

4. Project Reports (No public comment will be taken)
 A. Portland Harbor Common new acquisition subcommittee (Dennehy, Cole, Levesque & Zagaria)
 1. Subcommittee member updates. Selection Subcommittee introduced their goals to
 prepare the Round 1 artist submissions and recommend artists for the upcoming PPAC
 meeting on March 18, 2026.

5. Public Comment Period On Non-Agenda Items – No public comment

6. Other Business - No new business

7. Meeting adjourns - @ 5:38pm




 Page 4
FY26 - Public Art Fund (July 2025-June 2026)
TOTAL PPAC Balance
 A Total Balance (includes FY26) $ 403,715.45
 B Total Encumbrances $ 202,172.00
 C Total Approved budget expenditures $ 166,000.00
 Remaining Balance $ 35,543.45

Remaining Encumbrances from approved budget plans
 Activity Description Budget
 A Congress Square Public Art New Commission - Sarah Sze artist $ 176,000.00
 B Bramhall Square Artwork New Commission - Chris Miller artist $ 26,172.00
 Total Encumbered $ 202,172.00

Approved budget from FY25
 Activity Description Budget
 New Commission (Portland Harbor Commons Park)
 C Portland Harbor Common Park from FY25 Unspent Funds $ 140,000.00
 D Conservation assessment Funds approved for conservation assessment $ 12,000.00
 Total New Acquisitions $ 152,000.00

F26 - Proposed Budget Breakdown
 Activity Description Proposed FY26 Budget Current Budget Balance

 To cover the five-year Collection conservation
 assessment, lighting assessment and complete
 Conservation and Maintenance conservation projects identified as highest priority $ 10,000 $ 10,000.00
 To cover repairs, theft, relocation, Community Art
 Contingency Fund grant, plaque purchase, etc. $ 5,000 $ (3,505.60)

 Community Artwork grants To contribute to a community artwork project(s) $ 5,000 $ 5,000.00
 New public artwork acquisitions (Portland Harbor
 New Artwork Commons Park + Artists Stipend) $ 30,000 $ 16,000.00
 Total FY26 Budget $ 50,000 $ 27,494.40




 FY26 Expenses Funding Source Total (PAID) Project Notes
 CBE Contingency $ 3,560.00 Lights and conduit installation at Rustle Dyptich

 Port City Glass Contingency $ 3,505.60 Emergency replacement of Jewel Box glass (qt 4)
 Portland Glass Contingency $ 1,440.00 Broken glass at Jewel Box, qt1




 Subtotal Expenses $ 8,505.60

 FY25 Encumbrances Funding Source Total (UNPAID) Action
 Contract finalized, prioritize conservation of
 Tuckerbrook Conservation LLC Conservation assessment for Collection $ 12,000.00 Collection




 Page 5
I. Le t t e r fro m t h e Co m m it t e e Ch a ir
Saturday, February 21, 2026

To the City Council of Portland:

Fiscal Year 2026 was a year of goal-setting, gratitude, and movement for the Portland Public
Art Committee. As we look toward FY27, we consider how the Committee can enhance
communication about its mission, identify new opportunities for public and artistic
engagement, and practice care for both our community and our collection.

The Committee is proud to celebrate several successes from the past fiscal year, all of which
were made possible through our successful collaboration with the public and with our partners
in local government. With the help of the Parks Department, we replaced the lighting at Rustle
Diptych II, allowing our City to resume enjoying this striking piece at night. We were thrilled at
the City Council’s adoption of the Committee’s recommendation to accept the proposed Italian
Legacy Project from Portland’s Italian American Community. We are grateful to our liaisons in
the Planning Department, especially Kevin Kraft, who assisted the committee in project
prioritiz­ation based on our internally articulated goals, and Sean King, whose indefatigable,
ongoing support enhances our records, communication, and efficiency.

As the Committee closes out FY26, we are excited to commission a new work for Portland
Harbor Common. The response to the Committee’s RFQ exceeded all expectations, with 97
eligible submissions. We look forward to selecting and working with an artist as the new piece
and park take shape together, informing one another.

We are mindful of our ongoing responsibility to curate. In contemporary connotation, to curate
is often synonymous with selecting, purposefully placing, and acquiring. And while those are
indeed some of our functions, I see the committee’s charge as far more reflective of the verb’s
Latin root, curare, which means “to care for.” In our outreach and maintenance, we embody
what it means to care for our City’s collection. We will implement this mandate in FY27
through concrete actions, such as undertaking a comprehensive conservation assessment of
the collection, which will guide our future maintenance priorities and help set our FY28
budget.

Simultaneously, we are attentive to the ways that care manifests in unexpected acts, such as
the aforementioned commission of a new work for Portland Harbor Common. The



 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan

 Page 6
 2


acquisition’s placement in the new park, informed by the India Street Sustainable
Neighborhood Plan, will strengthen the community and articulate an aspect of our City’s
identity that this particular location embodies. The achievement of these goals through this
commission, in turn, will reverberate throughout the collection.

For the Committee, care work is done through objects as our primary medium, but the
beneficiary of our labor is the average Portland citizen. As stewards of public art, we
demonstrate our care for our community through outreach around the collection,
commissions, and acquisitions that celebrate Portland’s past, present, and future, as well as
through conservation efforts. Our ongoing prioritization of the collection’s stewardship
through these avenues will expand in FY27 to include examining how the Committee can be
more effective in its outreach. We hope to foster the public’s curiosity not only about what we
do but also about the art that surrounds us, contributing to Portland’s identity as a cultural
destination and embodying the aspects of our City worth witnessing, preserving, and
celebrating.

The Portland Public Art Committee is thrilled to enact our care for the City through our service
through 2027 and beyond. We look forward to any questions regarding the detailed annual plan
and report, and to continuing to work together to strengthen our City’s collection of artwork.

We are humbled by the opportunity to care for the collection and, by proxy, our community.


With gratitude for your time and attention to this report and plan,




Kat Zagaria Buckley
Chair
Portland Public Art Committee




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 Letter from the Chair

 Page 7
 3




II. O ve rvie w
In April 2000, the City Council established the Portland Public Art Program to preserve,
restore, and enhance the City’s public art collection. The Portland Public Art Committee (PPAC)
is tasked with commissioning art that engages the surrounding environment to foster a sense
of place by expressing the spirit, values, and visions of Portland through public art.

The public art collection currently contains 60 permanent pieces installed throughout Portland
and 1 long-term loan. Details on the collection can be viewed on the Public Art website
(https://www.publicartportland.org/). The collection comprises works of both historical
significance, dating from the nineteenth century, and contemporary pieces reflecting
Portland’s diversity and spirit.

The PPAC administers the Portland Public Art Program; the Committee’s responsibilities are
outlined in the City’s Land Use Code, Chapter 14, Article 20 Public Art Program. The Committee
refers to the Guidelines for the Public Art Ordinance (Volume 2, Number 1 – revised 2021) for
direction in administering their responsibilities.

The Portland Public Art Committee is responsible for the following:

 ● Develop and present an Annual Public Art Plan to the City Council, which includes
 recommendations for the use of allocated CIP funding, program administration,
 conservation of the collection, and initiation of new projects.
 ● Provide recommendations to the City Council regarding proposed gifts to the collection.
 ● Seek donations to fulfill Committee responsibilities in the case that CIP funding is
 insufficient.
 ● Recommend appropriate locations for the installation of public art;
 ● Promote public awareness and engagement with the collection.




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan

 Page 8
 4




III. Ad m in is t ra t ive Up d a t e s
 A. Committee members during fiscal year 2026 (FY26) between July 1, 2025 – June
 30, 2026
 ● Anna Berke, Chair until January 21, 2026.
 ● Kat Zagaria Buckley, Chair as of January 21, 2026.
 ● Sharon Dennehy, Vice-Chair.
 ● Phoebe Cole
 ● Alison Gibbs, Seat 1 until February 18, 2026
 ● Kelly Hrenko, City Manager’s Appointee
 ● Justin Levesque
 ● Stephanie Motter
 ● Sarah Michniewicz, City Council Representative
 ● John Whipple
 ● Ronnie Wilson, Creative Portland Appointee

 Management & Administration
 ● Sean King, Urban Designer, Planning and Urban Development Department




IV. Su b c o m m it t e e s
 A. Governance Subcommittee:
 The Governance Subcommittee included Anna Berke (Chair) from July 1, 2025
 – January 21, 2026. Upon Anna’s stepping down from the Chair role, the
 Committee confirmed Kat Zagaria Buckley as the new Chair (on January 21,
 2026). Since then, Kat has served as Committee Chair and as Chair of the
 Governance subcommittee. Sharon Dennehy has served as Vice Chair of the
 Committee and Governance subcommittee since July 1, 2024, and continues in
 this role.

 The Committee welcomed Justin Levesque’s appointment. The Committee also
 welcomed the reappointment of members Phoebe Cole, Anna Berke, and Kat
 Zagaria Buckley to new three-year terms.

 B. Acquisitions Subcommittee
 The Acquisitions Subcommittee includes committee members Phoebe Cole,
 Kelly Hrenko, and Kat Zagaria Buckley.

 The Acquisitions Subcommittee received no inquiries regarding potential new
 works of public art during FY26.



 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 II. Administrative updates

 Page 9
 5


 On July 28, 2025, the Portland Water District approved the public easement and
 maintenance agreement during a Board of Trustees hearing for the proposed
 public art gift from Judith Kendrick and Jim DiBiase, representatives of the
 Italian American Community. City Council voted to accept the proposed public
 art gift on July 14, 2025, Council order 3/25-26. The Portland Public Art
 Committee was pleased to recommend this community-initiated sculpture, a
 cohesive and practical work of enduring material. Bridging historical,
 locational, and pictorial resonances, The Italian Legacy Project will enable
 generations of Portlanders, past and present, to understand the significance of
 its site at India & Fore Streets. The monument reflects on how the movement of
 elements and people contributes to the creation of place, and how paths carved
 in the past create the support upon which we stand today. Above all, the Project
 honors the Italian community’s intertwinement with the physical and cultural
 foundations of our City. We are grateful that the Council similarly recognized
 the importance of this work. In FY26, the Subcommittee remained focused on
 stewarding the Council-approved acquisition from the Italian American
 Community.

C. Communications Subcommittee:
 The Communications Subcommittee includes committee members Stephanie
 Motter, Anna Berke, Alison Gibbs (Jul ‘25 – Jan ‘26) and John Whipple (Feb ‘26
 - current).

 In FY26 Accomplishments, the Subcommittee assisted with promoting the open
 call for artists for the Harbor Commons Park art commission. Promotions
 included social media posts and an insert in the Creative Portland February
 newsletter.

 Additionally, the Subcommittee’s efforts resulted in notably positive results for
 the Committee’s Instagram posts:

 ● Views: 8,213
 ● Reach: 504
 ● Content Interactions: 332
 ● Profile Visits: 262
 ● 95 follows

D. Collections Management
 The Collection Management Subcommittee includes committee members
 Sharon Dennehy, Kat Zagaria Buckley, Alison Gibbs (Jul ‘25 – Jan ‘26), and Anna
 Berke.

 In FY26, the Collection Management Subcommittee researched conservation
 firms in Maine/New England/New York for the purpose of receiving bids for an
 assessment of the City of Portland’s 60 works of public art. The


 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 IV. Subcommittees

 Page 10
 6


 Subcommittee narrowed the choices to firms specializing in this type of
 assessment of artworks made from varied materials and created an RFP with
 requirements for the assessments.

 Additionally, the Subcommittee updated the list of works spreadsheet with all
 completed repairs and maintenance.

 RFPs were sent to three firms, and two responded.

 The winning bid was from Ron Harvey of Tuckerbrook Conservation LLC, whose
 company offers conservation consulting, treatment, teaching, management,
 and assessment of collection care, with forty-eight years of experience. Ron
 Harvey performed restoration on the City’s Collection by artist Bernard Langlais
 in 2024. He will create a plan for future maintenance for the Committee’s
 consideration. His current proposal outlines 9-10 days to complete at
 $1,200/day, for an estimate of $10,800, with a maximum of $12,000.

 The wider Committee voted to award the bid to Tuckerbrook Conservation and
 approved the expenditure not to exceed $12,000.

E. Special Project Subcommittee: Portland Harbor Common
 The Portland Harbor Common Subcommittee includes members Sharon
 Dennehy, Kat Zagaria Buckley, Justin Levesque, and Phoebe Cole.

 This subcommittee was charged with creating an RFQ for a new work of public
 art to be placed at the terminus of India and Fore Streets within the context of a
 new City Park. After coordinating with the City, the Subcommittee reviewed the
 India Street Neighborhood plan, identified conceptual and authorial gaps in our
 collection, and brainstormed which types of artwork might make sense for such
 a site. It then crafted an RFQ that focused on the intersection of history, present,
 and future, as well as the City’s ties to water.

 The RFQ’s project brief, timeliness, and project budget were reviewed and
 approved by the wider Public Art Committee at its October 15 meeting.

 The RFQ was widely shared on social media and attracted 97 submissions.
 Artists not only from Maine and across the US submitted their qualifications,
 including those from states quite far from the Greater Acadia Ecoregion, such as
 Florida and Hawaii. Furthermore, we also received submissions from countries
 such as Japan and France. The enthusiastic response is a testament to the well-
 crafted RFQ and appropriate stipends that accompany this project, allowing the
 Committee to solicit bids for a truly world-class piece of public artwork.An
 initial review of the RFQs was completed in February 2026. The Subcommittee
 will meet again in March, when it will narrow the entries to three finalists.
 Those finalists will present to the wider Committee at its May meeting, with the
 final artist selected for the project via Committee vote in June, at the close of
 FY26.


 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 IV. Subcommittees

 Page 11
 7




V. Co n se rva t io n & Ma in t e n a n c e
The Public Art Program is charged with the care and maintenance of the City’s collection.
Conservation and maintenance completed in FY26 included:


 A. Maintenance Projects:

 1. Gorham Corner: The Committee reviewed
 a City plan to reposition the granite posts around
 the perimeter of the John Ford statue during the
 October 15, 2025, meeting. The meeting’s
 outcome was a recommendation to relocate the
 posts’ initially proposed sites. Staff shared the
 Committee’s recommendations with the Public
 Works and Parks Departments for consideration
 George Kelly, John Ford
 of winter maintenance associated with the
 preferred relocation of granite posts at the Statue, 1998. Located at
 intersection of York St and Pleasant St. Public Gorham corner.
 works responded with approval and acceptance
 of the Committee’s recommendations.

 2. Jewel Box bus shelter: As of Q4 FY26, the
 Committee has spent nearly $5,000, or
 approximately 10% of its overall budget on the
 maintenance of this single work.

 The Committee reviewed and discussed a request
 to use PPAC funds to replace several glass panels
 damaged by corrosive graffiti. Staff
 recommended that the Committee approve the
 use of existing PPAC funds of $,3,505.60 to cover
 the cost of glass panel replacement. The
 Committee approved the expenditure. Another
 incident occurred at the Jewel Box in January
 2026, necessitating another immediate
 replacement of a panel at a cost of $1,440.
 Image of damage at Jewel
 The Committee is concerned about the outsized Box on January 25, 2025.
 cost of maintaining this one work on its budget,
 affecting our ability to care for other works,
 respond nimbly to other incidents, and plan for
 the future.




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 V. Conservation & Maintenance

 Page 12
 8




 3. Rustle Diptych – The Committee
 approved funds during the September 17, 2026 to
 replace two in-ground light fixtures at the base of
 the stone pedestal and coordinate with the Park
 and Public Works department to replace the
 underground conduit, electrical switch and
 sensor at the traffic pole.



 Image of replaced fixtures
 at Rustle Diptych.


 4. Portland Brick Project – Some sidewalk
 replacements have resulted in the removal of
 bricks from this work. The Committee has
 increased its communication with City
 departments to inform adjacent property owners
 of future sidewalk replacements to ensure
 adequate precautions to preserve artwork bricks Ayumi Horie and Elise
 in the public sidewalk. For artwork bricks lost or
 Pepple, Portland Brick, 2015.
 removed due to sidewalk replacement project,
 the Committee is working with artist Ayumi Brick and digital
 Horie and is awaiting their recommendations for technology, India Street.
 proceeding as a possible future expenditure.




VI. Ac q u is it io n s
There were no new acquisitions in FY26.

However, $3,000 was spent on three finalists ($1,000 ea.) for their work on a final presentation
for the Portland Harbor Common RFQ.




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 V. Conservation & Maintenance, continued

 Page 13
 9



VII. Ac c o m p lis h m e n t s in FY26
 A. Projects Presented:

 1. Libbytown Neighborhood – There was a formal inquiry from the Libbytown
 Neighborhood Association, which the Acquisitions committee is stewarding.

 B. USM Media Student – A University of Southern Maine Media Student presented a
 video project on the City of Portland Art Collection.

 C. Projects approved by City Council:

 1. The Italian Legacy Project — see additional info in Acquisitions
 Subcommittee IV.B

 D. New commissions: Portland Harbor Common Request for Qualifications embarked
 upon. See details in IV.E

 E. Conservation completed:

 1. Acrobatic Dogs — see V.A.4

 2. Rustle Diptych II – see V.A.5.




VI. Go a ls fo r FY27
  A. Five-year vision

 The Committee reviews and sets priorities for the public art program to guide decision-
 making over the next five years. The five-year vision through 2031 includes:

 ● Finalize the acquisition and completion of all encumbered artworks, including
 Shattered Sphere by Sarah Sze in Congress Square Park, Keeper of the Picnic by
 Christopher Miller in Bramhall Square, The Italian Legacy Project by Giuliano
 Cecchinelli in collaboration with the Italian American community, and the as-
 of-yet-to-be-awarded RFQ for Portland Harbor Common. The first two of these
 artworks are contingent on the park refurbishments being completed.
 ● Evaluate the Guidelines for Public Art Ordinance and revise (if necessary);
 ● Further public education, interest, and enjoyment of public art by providing
 public art walks or public art guides in Portland, and to publicize and archive the
 collection. This includes revising the website to provide additional functions
 and increase traffic, increasing social media presence, and meeting with City
 stakeholders to reinforce the Committee’s mission.
 ● Increase donation solicitation for projects supported by the Public Art
 Committee, particularly for projects that enhance community engagement and
 identity. To solicit grant and private money for current and upcoming projects



 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VI. Goals for FY27

 Page 14
 10


 ● Prioritize site selections based on the Public Art Committee’s commitment to
 locate public art more equitably throughout Portland, with a particular focus on
 neighborhoods with no or limited public art.
 o To that end: continue discussions around the placement of a work at, in
 order of priority:
 ▪ Riverton Trolley Park
 ▪ Portland Trails
 to be reviewed and strategized upon for FY28 budget and beyond.
 ● Expand the public art collection in outer Portland through community art
 projects.
 ● Continue to provide forums for public input, including hybrid committee
 meetings for both in-person and virtual participation.
 ● Monitor the Reimagine Franklin Street process and identify opportunities for
 major new artwork installations.

 These goals aim to cultivate a sense of identity for Portland’s citizens, one that is
 outward-facing, embraced by locals, and experienced by our visitors. The caliber of
 artwork the Committee stewards will increase the City’s visibility as a cultural
 destination both nationally and internationally.

B. Specific goals by subcommittees in FY27
 a. Communications
 ● Increase awareness of the Committee’s goals and how we support and
 expand public art in the City.
 ● Increase public awareness of Community Artwork Grants
 ● Research ways to expand beyond digital promotion to ensure we are
 accessible to all City of Portland residents and visitors

 With regard to the latter point, the Subcommittee is actively exploring other
 avenues for communicative outreach based on what we hear would be useful
 from citizens and artists alike. It is a Committee-wide focus in FY27.

 b. Collection Management
 ● In FY27, the Subcommittee plans to review and prioritize Assessment
 results, as well as make plans for repair and maintenance costs. This will
 need to be incorporated into our FY28 budget plan. The Assessment supports
 our efforts to gather bids to hasten the aforementioned repairs.

 c. Acquisitions
 ● The Committee is stewarding an ongoing, informal inquiry from
 community member Alice Spencer for a proposed project with artist
 Daniel Minter. Committee Member Kelly Hrenko is stewarding this
 project, on which we hope to gain more details in FY27.
 ● In FY27, the Committee will continue to steward the aforementioned gift
 from the Italian American community.


 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VI. Goals for FY27

 Page 15
 11


 o Subcommittee allocates $600 for FY27’s creation of a Public Art
 Collection plaque related to the above sculpture, but does not foresee
 additional expenditures.
 ● The Subcommittee continues to monitor progress related to the Portland
 Harbor Commons, which has its own special project subcommittee.




Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VI. Goals for FY27

 Page 16
 12




  VII. P ro p o se d Bu d g e t FY27
Article 20, Section 20.4.1 Establishment of Public Art Fund of the Land Use Code details the
establishment of a special revenue fund designated as the Public Art Fund in the City treasury
from which expenditures may be made in accordance with the Public Art Ordinance. Section
20.4.2 City-funded projects of the Land Use Code specifies that A percentage of the City’s
Capital Improvement Program (CIP) shall be calculated and appropriated annually to the
Portland Public Art Fund. The annual appropriation shall be .5% of the total annual CIP.

Remaining Encumbrances from previously approved Public Art Committee budget plans


 Table 1 – Summary of Encumbered Funds


 Activity Description Budget

 A Congress Square Public Art New commission — Sarah Sze, artist $176,000

 B Bramhall Square Artwork New commission — Chris Miller, $26,172
 artist

 C Portland Harbor Common Park New Commission (Portland Common $154,000
 (park renaming pending) Park)

 D Conservation assessment Funds approved for conservation $12,000
 assessment

 Total Encumbered $368,172


Remaining Balance
FY26 has seen the Portland Public Art Committee allocate its funds in accordance with its
Committee goals. The PPAc Art Fund currently has $403,715.45 in unspent funds from prior
years. Of this amount, $368,172 (Table 1) is already encumbered across two previously
committed acquisitions: Sarah Sze’s project at Congress Square Park and Chris Miller’s
Bramhall Square commission, the new commission for Portland Harbor Common, and the
Committee’s conservation assessment.

These latter two activities are new as of FY26. Mindful of the importance of commissioning
new artwork for the City’s collection, the Committee decided to allocate a significant portion of
its combined unspent funds and budget towards this important, identity-articulating project.
Finally, its conservation assessment is based on the total amount quoted from the
Conservation firm selected, as outlined in Section II, subsection B.4.




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VII. Proposed Budget FY27

 Page 17
 13


Given the Committee’s significant, already-encumbered acquisition plans for FY26, its
proposed budget focuses on completing the aforementioned projects and reserving funds for
the maintenance outcomes associated with the assessment.



 Table 2 – Recommended budget for unspent public art funds

 Total Carried Over Art Funds Description Budget

 Encumbered See above $356,172

 Available Public Art funds Unspent Funds $35,543.45

 Activity Description Budget

 New Artwork Commissions Anticipated signage costs: Italian $600
 Legacy Project

 Conservation and Maintenance To cover conservation and $34,943.45
 maintenance efforts for the public
 art collection

 Total Budget $35,543.45


Proposed Budget FY26 (July 1, 2026 – June 31, 2027)

In addition to the proposed plan to utilize unspent funds rolled over from prior fiscal years,
described above, the PPAC has developed the following budget for FY27. For FY27, $50,000 is
allocated to the Public Art Fund. The proposed use of these funds is outlined in Table 3 below.
As recommended to the City Council during the FY24 & FY25 Budget Plan, we added a new
activity line to account for Community Artworks Grants.

 Table 3 – Proposed Budget FY27 (July 1, 2026 – June 31, 2027)

 Activity Description Budget

 A Contingency Fund To cover unplanned minor repairs, theft, $5,000
 replacement, and plaque purchases

 B Community Artwork Grants To contribute to a community artwork $5,000
 project(s).

 C New Artwork Commissions To facilitate unplanned opportunities $40,000
 that may come to the Committee, as well
 as steward a thoughtful, inclusive
 process for artwork for FY28, as outlined
 in Section VI, subsection A.

 Total FY27 Budget $50,000


 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VII. Proposed Budget FY27

 Page 18
 14




Attachments
Attachment A – Portland Harbor Common RFQ




 Portland Public Art Committee Fiscal Year 2027 Annual Report & Plan
 VII. Proposed Budget FY27

 Page 19
Planning and Urban Development
Sean King, PLA
Urban Designer




To: Kat Zagaria Buckley, Chair & Portland Public Art Committee Members
From: Sean King, Planning & Urban Development Urban Designer
Date: March 13, 2026
Re: New public artwork at new waterfront park
Meeting Date: March 18, 2026

Overview
This memo provides additional information to assist the Committee in selecting finalists for the
new public art acquisition, anticipated at the new waterfront park along the City’s Eastern
Waterfront. Below is a summary of the project’s background, guidelines and next steps.

Background
The City Council passed Order 59-25/26 to accept the Portland Public Art Committee fiscal year
2025 annual report and fiscal year 2026 budget plan, in which the Committee recommended
new artwork commissions to utilize unspent public art funds from previous fiscal year budgets.
The Committee proceeded to recommend the “Public Art Design Brief” as drafted by the
Selection Subcommittee during the November 19, 2025 public art committee meeting. The
deadline for submission of qualifications was February 11, 2026, and a total of 97 submissions
were received. A complete list of the submissions is included within this memo.

Following the distribution of submissions, the Selection Subcommittee has recommended six
artists based on an individual scoring rubric. The six artist submissions are included within the
memo.

Guidelines
The Committee is tasked with the selection of artwork and artists based on the adopted
guidelines for the public art ordinance that outlines the selection criteria.

The Selection Subcommittee was appointed by the Committee to include Kat Zagaria Buckley,
Phoebe Cole, Sharon Dennehy, Justin Levesque and a representative project manager from the
City’s Park Department to coordinate the selection process.




 389 Congress Street, Portland, Maine 04101 | ph: 207.874.8901 | sking@portlandmaine.gov



 Page 20
Next steps
The Selection Subcommitee will introduce their recommendation of the six artist submissions
that closely align with the evaluation criteria. The Committee is requested to utilize the scoring
rubric included within this memo to show their individual preference for up to three artists.

Finalists will be notified and invited to develop a concept along with a proposed budget,
schedule, and maintenance plan as outlined in the “Public Art Design Brief”. Finalists will
receive a $1,000 stipend to produce their concept and present proposals to the Selection
Subcommittee on May 20, 2026. The Selection Subcommittee will present a final
recommendation of an artist during the Public Art Committee meeting on June 17, 2026.




 389 Congress Street, Portland, Maine 04101 | c: 207.272.7885 | jgrondin@portlandmaine.gov



 Page 21
From the Guidelines for Public Art

 A.​ Artwork

 A1. Quality: The work should be of the highest standard with regard to workmanship,
 materials, assembly, content, location on the site, and appropriateness in theme and
 character as determined by the Public Art Committee. ​

 a2. Elements of Design: The Artist/Artwork Selection Panel and the Public Art Committee
 will take into account the fact that, as differentiated from works in a museum context, art
 in public spaces may function as focal points, modifiers, definers of public spaces and/or
 creates identity within the public realm. ​

 a3. Style and Nature: Work of any style or nature which is appropriate for the public art
 collection and which is responsive in scale, material, form, and content with their
 surroundings will be considered. Works may be participatory in nature.

 a4. Media: All forms allowed by ordinance may be considered. ​

 a5. Conservation: Due consideration shall be given to structural and surface soundness
 and to performance in terms of relative proof against theft, vandalism, weathering, or
 excessive maintenance or repair costs. ​

 a6. Project budget as specified in the Request for Proposals. This budget shall include at
 least the following items:
 ●​ All costs related to the acquisition, fabrication and installation of the piece
 ●​ Project Manager
 ●​ Traffic Management and Police Detail
 ●​ Street Closures
 ●​ Structural Engineer
 ●​ Conservation Evaluation
 ●​ Landscape Architect
 ●​ Plant Materials
 ●​ Signage – temporary
 ●​ Signage – permanent (in accordance with City specifications)
 ●​ Fencing – temporary
 ●​ Mitigation of any utility problems identified by Digsafe.
 ●​ Contingency of 5% of total project cost. ​
 Other issues that may be identified during planning, review and
 implementation.
 B.​ Artists
 b1. Cooperation: The demonstrated ability of the artist to work closely and
 cooperatively with the Committee, staff, and community.




 Page 22
 b2. Communication: The artist must have the ability to clearly communicate
 concepts both visually and through clearly written materials. In addition the
 ability to develop specific drawings of the artwork placed at the site will be
 required. (See Requirements for Design Documentation and Project Records)
 b3. Experience. The artist and project team is required to demonstrate the ability to
 create and execute a public art project within the timeframe and budget.
 b4. Measurements. The artist is responsible for all measurements of the site, to be
 taken in the field. Failure to do so, or errors, shall be the responsibility of the artist,
 and be corrected at the artist’s expense.
 b5. References. The artist must provide at least three references of persons who
 can speak to the artist’s demonstrated ability to implement art in the public realm.

Public art in the city must a) enhance and enrich the lives of City residents, visitors and
employees, b) contribute to the city’s civic pride and sense of identity, c) increase access to
artworks to residents, visitors and employees to enjoy, and d) celebrate the multi-cultural and
diverse character of the City of Portland’s communities with place-specific art.
The Public Art Ordinance explicitly states that the Public Art Program is to reflect, enhance and
celebrate the diverse City of Portland.

Cultural equity (definition by Americans for the Arts) is meant to embody “the values, policies,
and practices that ensure that all people—including but not limited to those who have been
historically underrepresented based on race/ethnicity, age, disability, sexual orientation, gender,
gender identity, socioeconomic status, geography, citizenship status, or religion—are represented
in the development of arts policy; the support of artists; the nurturing of accessible, thriving
venues for expression; and the fair distribution of programmatic, financial, and informational
resources.”




 Page 23
 Portland Harbor Common Park Artist Selection – Artist Rubric
 ●​ Below is listed each artist/designer who submitted qualifications and scored highest on the subcommittee’s review
 ●​ Rate each artist according to how well you think their work meets the criteria. 0 - 5 (0 = not at all, 5 = very well)
 ●​ Show a preference for up to three artists – write comments describing what you like about the preferred artist’s work


 Portfolio of
 Understanding of
 Understanding of relevant work (3d, Maine Comments
 (0-5) project goals and Location
 context permanent, connection (only for top choices)
 parameters
 outdoor)


22 Pamela Moulton ME


49 Andreas von Huene ME

 Isabel Catherine
73 ME
 Kelley

74 Gabriel Frey ME


75 Celeste Roberge ME


91 Vivian Beer ME




 Page 24
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division


 PUBLIC ART DESIGN BRIEF
 Portland Harbor Common Public Art Commission 2025

Introduction
The Portland Public Art Committee (PPAC) announces an open call for artists to submit qualifications for
a new public artwork commission for the newly designed Portland Harbor Common Park in Portland,
Maine.

Organization Overview
The Portland Public Art Committee preserves, restores, and enhances the City’s public art collection. The
Committee’s objective is to promote the educational, cultural, economic, and general welfare of the City
and its citizens through art. Eleven Portland residents and/or Portland-based professionals comprise the
voting members of the Committee. Eight members are appointed by Portland’s City Council to serve a
period of three years and are selected based on experience related to public art, including but not limited
to experience as architects, landscape architects, professional curators, professional artists, and/or
educators. The remaining three members of the PPAC include one City Councilor, a member of Creative
Portland, and a member recommended by the City Manager. The PPAC has a goal to include public art
when possible to enhance City of Portland infrastructure projects.

Design Brief​
The PPAC seeks to commission a work of art that honors, reflects, and celebrates the city’s distinctive
sense of place.

For millennia, the place we now call Portland has relied on its ties to the sea for sustenance, commerce,
and our sense of belonging. Water surrounds the peninsula where our community is situated and is an
integral part of our identity; it tethers our present community to our neighbors of the past and future.

A sense of place is more than topography; we welcome submissions that draw on themes of the
interaction of water, land, and people, and seek work that considers this intersection’s past, present, and
future.




 Page 25
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division


Portland Harbor Common Park: Background and Vision
Portland’s City Council adopted the India Street Sustainable Neighborhood Plan on November 2, 2015
with a vision to cultivate the future of the India Street Neighborhood. This neighborhood plan outlined
development principles to enhance neighborhood identity, diversity, local economy, growth, connectivity,
climate resilience, and public open space and amenities. Among the recommendations in this
neighborhood plan is the enhancement of the India Street corridor and termination at the Eastern
Waterfront. In 2021, the City held several public forums to gather community feedback on introducing
Phase 1 of Portland Harbor Common, a new public green space. Following a public engagement process,
the City prepared a request for proposals for design consultants. Sebago Technics was awarded the park
design contract in 2023 to reimagine the conversion of a surface parking lot into a publicly accessible park
space, featuring accessible pathways, landscape areas, a multi-purpose lawn, and pedestrian access to
the water’s edge. Upon completion of the construction documents and state and local permitting, the
project was bid for construction and awarded in 2025, with a projected start date in Fall 2025.

The Park is a transitional space between Portland’s harbor and the Old Port neighborhood, and is within a
short walking distance of shopping and restaurants. Thames Street begins at the terminus of Commercial
Street, a street of significant activity on the waterfront that accommodates tourists, waterfront workers,
hospitality staff, and residents alike. The Park will be located next to the Ocean Gateway parking lot,
which accommodates passengers boarding and disembarking from Casco Bay Lines, serving visitors,
residents, and workers in Portland’s island communities. As a focal point feature, a public art installation
is planned at the Park’s Western entrance, at the terminus of India Street. The site area for public artwork
is circular and bordered with cobblestone edging.


Design Parameters​
Public artwork in Portland Harbor Common Park shall:

 ●​ Be designed with consideration of 360-degree viewing
 ●​ Be consistent in scale and materials with Harbor Commons design concept and site conditions
 ●​ Be durable with a life span of at least 20 years
 ●​ Be easily maintained
 ●​ Be placed at the aforementioned rotunda location

The committee encourages proposals that embrace experimentation, boldness, and inventive approaches
to form, material, and meaning.

Fountains or any other type of water feature will not be considered.




 Page 26
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division


Base Assumptions

 ●​ Artwork shall be installed during the construction of the park, which is tentatively scheduled for
 substantial completion by November 2026. Coordination of any structural foundation is
 recommended to occur at the beginning of the artwork fabrication phase, in July 2026.
 ●​ Keeping in mind tenets of safe public space design:
 ○​ Artwork should provide for public interaction and should not include potential hazards
 ○​ Artwork should not interfere with the sidewalk or park circulation or function
 ●​ Artist(s) may be required to coordinate with the landscape architect, general contractor, or other
 consultants for the final design
 ●​ Depending on the design, the artist(s) may be required to seek review or approval from a
 structural engineer or other certification of structural stability/safety
 ●​ Artwork will be evaluated by the City conservator, and the artist(s) will be required to provide a
 maintenance plan upon delivery of the final artwork.
 ●​ Work with stakeholders, including City departments, neighborhood and arts organizations,
 residents, property owners, or businesses as appropriate, to exhibit public artwork conceptual
 design.
 ●​ Artwork will be original in concept and imagery, executed by the artist. Artificial tools if used must
 be disclosed, with rationale.


Location​
Artwork must be sited at the designated location detailed in the attachments.

Public artwork should not:

 ●​ Occupy or impede sidewalk circulation on the perimeter of the rotunda
 ●​ Prevent use of or circulation through the park as shown on approved design plans
 ●​ Disrupt stormwater treatment function of landscape plan – coordination may be required to modify
 materials to account for the placement of artwork

Public artwork shall:

 ●​ Have radius of ~5–10 ft
 ●​ Be designed for viewing in the round, also surrounded by landscaping
 ●​ Be constructed with utilities (existing underground electrical, storm drain, sanitary lines)
 specifications in mind, details to be provided to the artist by the City

Scope of Work​
The art commission scope includes design/artist fee, fabrication, transportation, installation or installation




 Page 27
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division


oversight, and any lighting specific to the artwork. The allocated budget for this project is up to $150,000,
with the potential for additional funds at the discretion of the Public Art Committee.

Selection Process​
Artists will be evaluated by an ad hoc selection committee composed of Public Art Committee members,
neighborhood representatives, and the park landscape architect.

Round 1 – Open Call for artists

 ●​ Interested artists will submit qualifications as listed below in the Submittal Requirements
 ●​ Artists will be evaluated based on the Artist Selection Criteria; Finalists will be selected to
 continue to Round 2

Round 2 – Finalist Proposals

 ●​ Finalists will be notified and invited to develop a concept with a proposed budget for the Harbor
 Park artwork ($1,000 stipend provided)
 ●​ Finalists will present their concept and answer questions with the selection committee
 ●​ Final proposal will include a presentation with visual aids and address specific questions from the
 committee

Timeline​
December 2025 – Open call for artist qualifications​
February 11, 2026 – Deadline for artist submissions​
March 2026 – Review of submissions, notification of finalists​
March – April 2026 – Finalists develop concept proposals​
May 20, 2026 – Finalists present proposals to the selection committee ​
June 2026 – Final artist selected
July - October 2026 - Artwork fabrication phase
November 2026 - Artwork installation

Artist Selection Criteria​
The Portland Public Art Committee is dedicated to collaborating with the local arts community to develop
an inclusive public art program. We hope to serve, celebrate, and represent the diverse and
ever-changing population of Portland by extending opportunities to those of all racial, ethnic, and cultural
backgrounds; gender identities; sexual orientations; ages; and abilities. We encourage all to apply.

Transparency Statement​
The PPAC is committed to a transparent and inclusive selection process. Whether or not your




 Page 28
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division



submission is chosen for the next phase, we will keep all applicants informed of project
developments via the contact information provided.

We are not able to provide individual feedback to submissions.

Artists will be evaluated on:

 ●​ Experience in creating permanent outdoor works of art
 ●​ Project feasibility
 ●​ Portfolio of relevant work that aligns with the vision for Harbor Common Park
 ●​ Proximity to Maine, with a preference for Maine artists, artists with community ties to Maine, or a
 demonstrated connection to Maine

Submittal Requirements​
To be considered, please submit the following:

 1.​ Letter of interest (750 words maximum) that:
 ○​ Conveys an understanding of the project goals and parameters
 ○​ Conveys an understanding of the context and the community into which the artwork will
 be sited
 ○​ Answers the questions
 i.​ How does your experience and practice relate to the proposed artwork?
 ii.​ In what ways does your practice reflect or reimagine Portland’s deep ties to the
 land and the sea?
 iii.​ What is your connection to Maine (residency, cultural, professional, or personal)
 and how does it inform your perspective on public art in Portland?
 2.​ Resume or Curriculum Vitae (2 pages maximum)
 3.​ Examples of past work (5–10 images labeled with title, location, date, medium)

Submit materials via email in PDF format to publicart@portlandmaine.gov by 11:59 PM Wednesday,
February 11, 2026.

Resources

 ●​ Portland Public Art Program: ​
 https://www.portlandmaine.gov/560/Public-Art-Committee
 ●​ Portland Harbor Commons Park:
 https://portland.civilspace.io/en/projects/portland-harbor-common




 Page 29
 Anna Berke, Chair
 Sharon Dennehey, Co-Vice Chair
 Kat Zagaria Buckley, Co-Vice Chair
 Phoebe Cole
 Alison Gibbs
 Kelly Hrenko, City Manager appointee
 Justin Levesque
 Sarah Michniewicz, City Councilor
 Stephanie Motter
 John Whipple
 Ronnie Wilson, Creative Portland appointee

 Management & Administration
 Sean King​
 Urban Designer, Planning Division


Attachments

 ●​ Harbor Common Park design drawings
 ●​ Harbor Park Plan with area for artwork outlined
 ●​ India Street Sustainable Neighborhood Plan




 Page 30
 Portland Harbor Common Park Artist Submission

 • Below is listed each artist/designer that submitted qualifications




 Artist Name Location



1 JD Trejo Maya WA


2 Chris Weed CO


3 Andrey Sledkov UT


4 Annette Coleman CO


5 Jennifer Freeman GA


6 Blane De St Croix NY


7 Timothy Smith CA


8 Koichiro Azuma ~JP


9 Zane Statz WI


10 Jessica Bell TX


11 Volkan Alkaanoglu OR


12 Elena Manferdini CA


13 Suikang Zhao NY




 Page 31
14 Maria Pilar Tolosa / Julian Facundo Razquin ~AR


15 Vito DiBari FL


16 Mariaane Mazel ~FR


17 Hugh Lassen ME


18 Anaisa Franco / 4th State Metals FL


19 Michael Morgan PA


20 Austen Brantley MI


21 Placzek Studios NE


22 Pamela Moulton ME


23 Cali Kurlan NY


24 Marlana Adele Vassar PA


25 Krista Faist OH


26 Lee Tal NY


27 Nancy Winship Milliken VT


28 Bilhenry Walker WI


29 Steve Burns ME


30 Oleg Lobykin CA




 Page 32
31 Beth Nybeck MO


32 Eliza Goodwin ME


33 Anton Morton OK


34 Ilan Averbuch NY


35 Lisa Houck ME


36 Justin Max Schoepke WI


37 Greg Mueller MN


38 Sujin Lim NY


39 Samuel Dominguez ~UK


40 Kirk Seese MD


41 Mariah Reading ME


42 Aaron Stephan ME


43 Jane Love ME


44 Andy Bellomo IL


45 Osman Akan NY


46 Gregory Gomez MA


47 Sonny Behan NY




 Page 33
48 Jordan Parks ME


49 Andreas von Huene ME


50 Laura Haddad | Tom Drugan WA


51 Joshua Wiener CO


52 Thomas Putzier MN


53 Patricia Brace ME


54 Seth Emerson Palmiter ME


55 Emanuel Rohss CA


56 Zan Knecht MI


57 Ray King NJ


58 Andrew Murdock HI


59 M.L. Duffy MD


60 Robert Brochu ME


61 Eoin Burke CT


62 Kit Collins MA


63 Kazumi Hoshino (Hoshi) ME


64 Derrick Monk NC




 Page 34
65 Maxwell Emcays IL


66 Mark A. Reigelman II NY


67 Sijia Chen CA/~CH


68 Erwin Redl PA/NY


69 Parker Bunce / Nicole Courville OR


70 Gavin Sewell NY/~CN


71 Reinaldo Correa IA


72 Mark Aeling FL


73 Isabel Catherine Kelley ME


74 Gabriel Frey ME


75 Celeste Roberge ME


76 Mike Libby ME


77 Mojtaba Oriuee ~AM


78 David Allen ME


79 Ian Ross CA


80 Gareth Curtiss MT


81 Sean Orlando CA




 Page 35
82 Joshua Goss ME


83 Chris Miller ME


84 Dan Ferrer ~ES


85 Ben Zamora WA


86 Timothy Goldkin, Steven King, Nate Deyesso, See Reality ME


87 David Moore GA


88 Juliet Morin NY


89 Lauren Stumberg NC


90 Ene Osteraas-Constable / Scott Constable CA


91 Vivian Beer ME


92 Owen Casas ME


93 John Bannon IL


94 Ai Qiu Hopen FL


95 David Ruth CA


96 Jacob Kulin MA


97 William Nemitoff LO




 Page 36
Portland Harbor Common Park

Posey’s:
Letter of Interest
CV
Images



 Posey
 www.poseyart.com

 pmoulton61@gmail.com

 207-409-6268




 Page 37
POSEY’S LETTER OF INTEREST

The radio announced, “ a whale is stranded on Crescent Beach, please come help”. Ten year old me mounted my trusty
bike and zipped down to join the growing crowd. The biologist in charge tasked me to keep the whale wet by refreshing
the towels draped over it. Standing beside it, eye to grapefruit-sized eye, I was entranced by the whale’s gentle
hugeness. The neighborhood choreography of straps and tractors nudged it slowly towards sea. Eventually the whale
floated out into the bay, buoyed by the rising tide. I’ve never forgotten the awe and reverence I felt that day. Bonding
with the whale and the thoughtful group of helpers, I discovered a powerful path to guide my creative life.


I am an art missionary, I build community with my practice— it's vital to me and nurtures my existence. I am interested in
sculptures that puzzle and excite people, hopefully zapping their imagination. My art encourages children to imagine
friendly creatures and sea monsters emerging from the earth, plants gone wild and dinosaurs coming to life. Adults tend
to marvel at the material transformation and the countless hours of labor involved in tying knots or sanding zillions of
shells. Is that a plant or animal or a mysterious creature from a yet to be categorized kingdom?


I create works that explore the realm of eco- mythology, telling tales of nature’s superheroes. My art practice bounces
between sculpture, public art, performance and installation, focused on climate crisis issues including rising sea levels
and sinking lighthouses. My art has been described as part sea-creatures, part Dr. Seuss all imagination.


My Pinkie project, originally situated at Payson Park, engaged over 5,000 hands-on volunteers. Every age group has
attended my workshops— gaggles of kids, eager highschoolers and curious elders regardless of limitations. To date I
have led efforts to recover over 20 tons of ghost gear from the ocean. Demystifying science by working in the realm of
eco-mythology, I encourage viewers to consider their responsibility as we face environmental reckonings. In 2023 I was




 Page 38
honored to be chosen community teaching artist of the year by The Maine Art Education Association; I have taught
students in most every school in greater Portland. Sharing creative experiences is my biggest joy.


I've witnessed this neighborhood evolve over my lifetime. As a child I made forts in the abandoned train-yard there with
my brothers. Later, living on Peaks Island, I often raced to catch ferries. My mother and I swam the Peaks to Portland
Race in 1982, slathered in axle grease. Mom won her division— the only brave swimmer over fifty that year! Once In a
severe 1980 blizzard, mitten to face, I trudged across the harbor ice with my Aunt Rene and Uncle Hugh to have tea and
muffins on Peaks. I've made public sculptures along the east coast and would love to create one to nest here by the
ocean, greeting residents, tourists and waterfront workers with a mix of love and excitement; a place to meet dear
friends or simply vibe on the salt air and ocean vistas.


Right now I'm working on a 14’ sculpture using a new process where a galvanized steel armature is sheathed with a new-
age cement and fiber material. It cures as hard as a rock after a month and will accommodate a mosaic of composite
shells, ropes and materials. This spring It will be installed at the seaside Crane Estate in Ipswich, MA and serve as a
sophisticated and whimsical portal to the 2,100 acre coastal marshland estate. Signage and staff will help explain why
this great marshland is drowning; by educating the public it’s hoped we can assist mother nature regain its breath. The
sculpture is titled,“ Second Wind”.


Dear committee members,
I am thrilled the city of Portland, in its Yankee wisdom, decided to create the Portland Harbor Common Park. A
welcoming, sculptural treasure seated here will be a grand addition to this mixed usage part of the city. My approach
with this sculpture would include community-building events, artmaking workshops and stimulating collaborations with
neighborhood families as part of its inauguration. I would love to take this dream challenge to its next step and develop
ideas and images for your consideration. Thank you so much.




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 P O S E Y aka P a m e l a M o u l t o n

 P.O. Box 59, North Bridgton, ME 04057
 207-409-6268
 www.poseyart.com
 insta@ pamela_moulton
 pmoulton61@gmail.com




EDUCATION

 Master of Fine Arts, Ecole Supérieure d’Art d’Aix en Provence, France 2011

 Master of Fine Arts, Vermont Studio Center & Johnson State, one year completed 1995-96

 Bachelor of Fine Arts and Bachelor of Arts, University of Vermont, 1984

 Dance Pedagogy, Danse à l'École, Blois, France 2007-2012

 Villa Arson: École Nationale d’Art Décoratif, France 1982-84


AWARDS (selected)

 2019-2025 Maine Arts Commission: Five Artist Project Grants
 2020-2024 NEFA: Two Public Art Learning Fund Grants
 2024 Monson Arts Residency
 2023 Ellis Beauregard Foundation: Artist Project Grant
 2023 Maine’s Community Artist of the Year
 2022 Space Gallery: ARP Maine Project Grant
 2022 My work was presented at the International Marine Debris conference, Busan, Korea
 2021 Maine Arts Commission: Artist Resilience Grant
 2017 What About Art: Residency, Mumbai, India
 2016 Hewnoaks: Artist Residency, Maine
 2015 Maine Arts Commission: Maine Visual Artist Fellow, 2015-2016
 2011 Conseil General: Promoting contemporary dance and performance in rural France Grant




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PUBLIC ART (selected)

 2025 Public Art installation, Moakley Park, Boston, MA
 2025 Commission for The Trustees; deCordova Museum; Crane Estate, Fruitlands Museum
 2024 Pinkies move to Freeport Maine for the year
 2023 Percent for Art Commission: “Tangle” University of Southern Maine, Portland, ME
 2022 TempoArts Temporary Public Art Commission: “Beneath the Forest, Beneath the Sea”, ME
 2017 Laudholm Reserve, Power of Place, Wells, ME
 2016 Percent Art Commission: “Belle Riviere” Northern Maine Community College, ME


SOLO EXHIBITIONS (selected) GROUP EXHIBITIONS (selected)

 2023-2025 Arcadia Earth Museum, Toronto 2025 Space Gallery, Portland, ME
 2022 Frederick Arts Council, MD 2023 ICA at MECA & D, Portland, ME
 2021 Speedwell Gallery, Installation, ME 2023 Lights Out Gallery: Belle Epoque, ME
 2019 Space Gallery, Portland, ME 2023 CMCA Biennial, Rockland, ME
 2021 Arcadia Earth Museum, Las Vegas 2022 Cove Street Arts, Portland, ME
 2019 Stanley Whitman Museum, CT 2021 Broad Institute, Harvard/MIT
 2017 Ogunquit Museum, installation, ME 2021 Majestic Fragility, Bigelow Labs ME
 2013 L’Exprevote, Saint Aignan, France 2019 Katonah Museum, Katonah, NY
 2009 Chapelle Saint Jacques, Vendomes, France 2016 Lewis Gallery, Portland Library, ME
 2008 Maison de Loir et Cher, Blois, France 2012 Castel Vie et Joie,Chateauvieux, France
 2008 Chapelle Sainte Anne, Tours, France 2011 CarpeDiem, Montpeyroux, France
 2007 ExPrevote, Saint Aignan, France 2009 Turning Pages, N.E. Harbor, ME
 2006 Chapelle des Penitents, Aniane, France 2009 Sam Shaw Gallery, N.E. Harbor, ME
 2003 National Museum of Tirana, Albania 2005 La Bouchery, Pontlevoy, France
 2003 Watchung Art Center, NJ 2004 Prince Street Gallery, NYC
 2002 Espace Culturelle, Cournonsec, France 2004 Atoutfil, Onet Le Château, France
 2002 Maison de Culture, Romorantin 2002 Musée International de L’Oeuf, France




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 TANGLE 2023
 Posey and Roy Fox
 Commissioned for the University
 of Maine System and the citizens
 of Maine under the Maine
 Percent for Art Act.
 Materials: Steel, salvaged fishing
 gear, paint
 Dimensions: 14 high x 10 across




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 Enthusiastic field trip to
 TANGLE at USM




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 THE PINKIES 2025
 Initially Commissioned by Tempoarts Maine
 Photo: Freeport Town Hall
 Materials: Steel, salvaged fishing gear, paint
 Dimensions: Each sculpture in the trio measures
 roughly 14 ft high x 9 ft across




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 THE PINKIES 2025
 Detail




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 THE PINKIES 2025
 Initially Commissioned by TempoArts Maine
 Photo: Payson Park
 Materials: Steel, salvaged fishing gear, paint
 Dimensions: Each sculpture in the trio measures roughly 14 ft high x 9 ft across




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 WHAT IS GROWING IN MOAKLEY PARK 2025
 Commissioned by Boston Harbors Now and Moakley Park
 Installation: Moakley Park, South Boston
 Collaborative community project
 Materials: Salvaged fishing gear, paint
 Dimensions: 36 ft long x 6 ft high




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 What is Growing at Moakley Park
 2025
 Detail




Page 48
 VERTEBRAE 2017
 Installation: Laudholm Reserve
 Materials: dogwinkle shells, marine
 piling, steel, marine epoxy
 Dimensions: 14 ft high x 3 ft wide




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 VERTEBRAE 2017
 Detail




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 SECOND
 WIND- 2026
 Image shows top
 half of sculpture-

 Work in progress
 for the Crane
 Estate

 Cement-Fiber
 shapes covering a
 steel armature.

 Sculpture will be
 covered with a
 mosaic of
 composite shells
 and rock hoppers.




 Composite shells will
 cover the large
 sculpture- The left image
 is maquette for my
 technique



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 von Huene Design LLC
 P.O. Box 401 Woolwich, Maine 04579
 andreasvonhuene.com (207) 442-8145
 andreas@vonhuene.us

February 10, 2026
Dear Portland Public Art Committee:
 I am excited to be contemplating art for a neighborhood that is on the rise and
means to build on the culture of the city. It is a special joy to create site-specific work that includes
influences from nature and humanity. We have a very rich range of active imagery from which to
draw inspiration: people, wave forms, sea creatures, vessels, abstraction, sheets of glorious Maine
light and songs of the sea. Providing the new park’s entry focal point with an iconic work to establish
its character will claim the site for the citizens of Portland and identify its location along the
streetscape. The artwork will also resonate with the importance of the park’s waterfront access.
 The ability of the City of Portland to effect such a change in site use, to the benefit of its citizenry, is
alone very important. A significant land-based sea change! The park will help reformulate the India
Streets Neighborhood identity and open its point of view relative to the harbor. Converting
hardscape to greenspace raises the area’s environmental qualities while open space with amenities
enriches the quality of life in many ways. Bridging the Old Port with the Easten Trail opens up
opportunity for pedestrian interaction with art.
There are more and more examples of parks along the waterfronts of cities: Barcelona, Hamburg,
Boston, Bath, etc. They are elevated by art that radiates energy. There is an opportunity here to
design artwork that not only speaks to the park and its entrance but also to this whole shift towards
waterfront accessibility. Instead of large- scale parking, an open plan is before us and therefore
artwork may be designed that does not block view and pedestrian corridors. My team’s WYOMING
EVOCATION at the Maine Maritime Museum, for example, frames the view to The Kennebec River
rather than blocking it.
I enjoy my adventure in creativity and ranging ideas as I delve into new projects. My colleagues
report that I am inventive. Many of my more than 40 public art projects involved collaborative
brainstorming with stakeholders, reinforcing a sense of community ownership in art. Living and
working in coastal Maine means being constantly informed by ties to land, sea, and community. My
art will recognize Portland’s deep ties while also setting a look forward. Please visit my website:
andreasvonhuene.com
Born in Bath, Maine, I have lived here most of my life. The Maine Arts Commission helped launch
my artistic career with its Percent for Art Program and I delight in my many artistic connections here
in the great state of Maine. Maine’s culture can be simultaneously rooted in age old understandings
while branching out in new directions. I offer sensitivity to each. My perspective on public art in
Portland is from having work in the city and knowing of work that colleagues have provided as well.
I look forward to an opportunity to be of service.
Sincerely yours,
Andreas von Huene




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ANDREAS von HUENE
P.O. Box 401, Woolwich, ME 04579 (207) 442-8145 andreas@vonhuene.us, andreasvonhuene.com
EDUCATION

 Stanford University
 MS in Engineering (Product Design) 1988 Master’s thesis: Landscape Bridges
 Worcester Polytechnic Institute
 BS in Mechanical Engineering 1978
PUBLIC ART

 Frog, diorite frog sculpture, Coastal Maine Botanical Gardens, Boothbay, Maine 2023
 Young Trees Going for a Walk, polychrome aluminum stabile, Lewiston, Maine 2022
 The River’s Voice, granite and steel outdoor percussion art, Brunswick, Maine 2019
 Trout, granite fish, Meredith Sculpture Walk, Meredith, New Hampshire, 2017
 Mina, over life size granite bas relief portrait, Collins Center for the Arts,
 University of Maine Orono, 2016
 To the Water, granite figure, University of New England, 2015
 Compass Rose II, bronze memorial, Leland, Michigan harbor, 2015
 Wildcat, bronze mascot, Presque Isle High School, Presque Isle, Maine 2014
 Der Traum der Wiese, sandstone face for Skulptoura, Mauren, Germany 2014
 Heron and Reeds, bronze heron and reeds for Mid Coast Hospital, Brunswick, Maine 2013
 Maryly’s bench, monumental quartzite seating, Boothbay YMCA, Boothbay, Maine 2013
 IO, quartzite abstract, Viles Arboretum, Augusta, Maine, 2012
 Zephyr, monumental granite figure, Acadia Hospital, Bangor, Maine 2012
 Cloud Roller, quartzite monumental, Viles Arboretum, Augusta, Maine 2011
 VIRGINIA, granite and bronze monument, Phippsburg, Maine 2010
 To the Other Side, granite stele for Folsom Hall, University of Maine Presque Isle, 2010
 Alexander’s Threshold, granite stele, Coastal Maine Botanical Gardens, Boothbay, Maine 2010
 Star and Moon, pine and granite benches for Bath, Maine, 2007
 Maine State Seal, granite bas-relief and Compass Rose, bronze and granite inlay for
 Penobscot Narrows Bridge, Bucksport, Maine 2007
 Wyoming Evocation (with Joe Hemes et al) First Phase of construction: Full-scale historical evocation
 of the largest wooden sailing vessel. Maine Maritime Museum, Bath, Maine 2006
 Asio Flammeus, monumental Gabbro and Granite owl,
 Wells Elementary School, Wells, Maine 2005
 Plow for the Wind, quartzite, stainless steel, and Dawn Redwood bench
 University College of Bangor, Bangor, Maine 2004
 Flying Carpet, polished quartzite and granite bench,
 Eastern Maine Community College, Bangor, Maine 2004
 Salmones Salari, white and black granite fountain with blue granite fish
 Lowell Street Park, Cambridge, Massachusetts 2004
 Wave, granite, cedar, and stainless steel mesh wave bench
 Southern Maine Community College, South Portland, Maine 2003
 Plateau, granite bas-reliefs of river, mountain, and cloud patterns
 Leavitt Area High School courtyard, Turner, Maine 2002
 Metamorphoses, granite and wood seating oval with granite and
 polished metal sculptures adjacent to the entrance of
 Mount Ararat Middle School, Topsham, Maine 2002
 Strong Flows The River, Quiet Moves The Stream, water, granite,
 marble, and walnut landscape waterfalls: Indoor public areas of
 Mid Coast Hospital, Brunswick, Maine 2001
 Raven, Salamander, Trout, Observer, Bench, and Tiger, sculptures
 in wood and granite for Jay Middle School, Jay, Maine 2001
 Love from Ruth, pink granite abstracted bird as a memorial bench for
 Patten Free Library, Bath, Maine 2000
 Tiger, granite Tiger, Gardiner Area High School, Gardiner, Maine 1999
 Salmo Salar, full scale granite Salmon trio for Edmunds Consolidated School,
 Dennysville, Maine 1998
 Pegasus, full-scale mirror-polished aluminum winged horse for the
 Corinna Elementary School, Corinna, Maine 1998
 Life Finds a Way, carved and polished granite megalith and seating for
 Rogers Hall, University of Maine, Orono Campus 1997
 Into the Arch of the Sky, suspended, full-sized polychrome wood
 figure and Heron for Wayne Elementary School, Wayne, Maine 1997
 Esker Moraine, carved stone and wood sequence of benches for the
 Miller Elementary School, Waldoboro, Maine 1995
 Sea Garden, carved stone, wood, and metal outdoor bench for the
 Maine Department of Marine Resources Aquarium, West Boothbay, Maine 1994
 Brewer Centennial Monument, (with Carole Hanson) sculpted landforms,
 terracing, and carved megaliths as a riverside park, Brewer, Maine 1994
 Open Mind, earth art with boulders, carved stone seats, and trees
 Troy A. Howard Middle School, Belfast, Maine 1994
 Odyssey, hanging steel, wood, and carved stone sculpture in the
 Riverview Community School hallway, Gardiner, Maine 1994
 Heritage Club, carved wood and brass plaque Bath, Maine YMCA 1993
 Inspiring Discovering, (with Carole Hanson) landscape, carved boulders
 and fitted wooden benches, Swan's Island School, Swan's Island, Maine 1991




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SCULPTURE


Aether- stainless steel Heron- granite Resting Bird - quartzite
Alexander’s Threshold-granite Heron and Reeds- bronze Rift Valley - granite fountain
Aloft- graphic granite feldspar owl Herodias (heron)- Elm Rings-steel
Articulation- Jonesboro Pink granite Hood and Chimney- bronze, stainless steel River Sprite- granite
Atalanta- bronze I &F Memorial granite, aluminum River’s Voice- granite, polychrome steel
Banking Owl - Tapestry granite In the Dunes- quartzite Rock Sole- graphic granite feldspar
Bench - granite, wood, aniline dye Into the Arch of the Sky-wood Salamander – granite
Bison - gneiss/granite Into the Far-Gouldsboro granite Scouting Owl- granite
Black Eagle – Basalt IO - abstract in quartzite Screech Owl - granite
Blue Clouds White Sky-granite, quartzite Junco - granite/gabbro Seal – Quartzite
Blue Streak- quartzite owl Juno&Aeolus - quartzite, water Seal-basalt
Boreal Owl - granite Ketupu - Hillburn granite Searching Owl-graphic granite feldspar
Brink (Kestrel) – granite Khamsin – granite Short-eared Owl – gabbro
Buddha - basalt Khamsin-wood and granite Solium- throne in wood and granite
Bull – basalt Kite I and II- stainless steel Snow Hare - granite
Cantilever Owl - gneiss Looking out to Sea-limestone Snowy Owl – Feldspar
Chloe- bronze and granite Mantle for the Sun- bronze Snowy Owl- granite x2
Chrysalis-basalt Mistral-granite Spotted Owl – granite
Cloud gate - stainless steel Mola-granite on basalt Stalking Heron- bronze
Cloud Roller - quartzite Mountain Kernel I - III - granite Standing Owl- graphic granite feldspar
Coats of arms – granite Now We Are Coming To An- Stepping Out - granite, stainless steel
Compass Rose I and II- bronze, granite Understanding- granite Storm Rising- Basalt
Diving Owl-graphic granite feldspar Nightjar - Basalt, Aluminum Stride- granite abstract
Dawn Owl- Tapestry gneiss O! –gabbro Tiger-granite
Der Traum der Wiese- sandstone O.!- stainless steel Triptych - granite and stainless steel
Dory and Wave- marble and stone Oculus- wood and steel To the Water- Red Beach granite
Drive- wood, quartzite, stainless steel Owl - granite/gabbro Trawler- granite
ECHO - granite Owl on the Wing - granite Trout I and II – granite
Elsie (ship) - granite, stone Owl - cantilevered quartzite Trout III- Vermont Verde Antique
Eyelet for the Universe-granite Owl Rising I and II- granite, quartzite serpentine
Falcon - Feldspar Owl Snowy- graphic granite feldspar Turning Great Horned
Forward – granite Passages – granite and bronze Turtle-granite
Four Eight Four- quartzite, stainless steel Piggy- aluminum Untitled Figure – granite
Furstenberg Owl- graphic granite Pleiades-granite, bronze VO-wood and bronze
Gate- stainless steel Porca Imperata-Texas Pink granite Walk the Earth- brownstone stele
Gliding Owl- Ashton gray granite Posted Falcon- diorite Water in the Sky - granite
Grace Ram- Jay white granite Pyramid - aluminum Weathervane - mahogany
Great Horned Owl- granite Pull of the Moon - granite Wind Goddess doorstep – granite
Green Wave (figure)-Stony Creek granite Pursuit (Eagles) – quartzite Winston Cairn Terrier memorial)-gneiss
Great Gray Owl - granite Pyramid-aluminum Zenith (Hawk) - granite, stainless steel
Gyrfalcon I and II – graphic granite Rabbit Weathercarrot – aluminum Zephyr – gabbro
Hawk – Feldspar Raven - granite
Headwind- Hillburn granite Red Owl- Jonesboro Red granite

SYMPOSIA and EXHIBITIONS
 Rockland stone sculpture symposium co-organizer and participant
 Boothbay Region Land Trust Symposium 2023 co-organizer and participant
 Hallowell Sculpture Symposium 2021 co-organizer and participant
 Maine Stone Symposium 2017 and 2019 co-organizer and participant
 Viles Arboretum Sculpture Symposium 2014 and 2015 co-organizer and participant
 Skulptoura Boeblingen/Mauren, Germany, Bildhauersymposium 2014: participant
 Schoodic International Sculpture Symposium 2012: Participant
 JC Stone Sculpture Symposium 2010 and 2011: participant



AWARDS and FELLOWSHIPS

 Worcester Polytechnic Institute Ichabod Washburn Award 1993
 Maine Arts Commission Individual Artist Fellowship 1991




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Isabel Catherine Kelley
 icksculpture@gmail.com
603-689-6805
129 Nash Road,
Windham, ME 04062


Dear Portland Public Art Committee,

 Like many, I’ve moved around the city of Portland in my time residing there and have
come to share that time with the public art of the city. For years I would watch the sun rise over
the bay on the granite benches of Barrows Park. It may not be art to all but for me it is a great
public memorial to find comfort in and make use of in the city, as well as a window into
Portland’s history. The public art that has been collected by the city of Portland so far, for me,
has always been a comfort and familiarity to my environment. The artworks are landmarks for
direction, a story map of the city and its histories of past, present, and future.

 A visual sculpted story is my inspiration for this public call for art in the upcoming
redesign and enhancement of the Portland Harbor Common Park. My vision for the park’s art
will reflect the historic waterfront neighborhoods through architectural references, symbols of
Portland’s maritime use, depictions of land and sea, and origins of people and culture. By
creating a comfortable common ground for community reflection through sculpture, my intent
is to tell this story through granite blocks comprised into a quilted pattern. The combination of
color and form as translated through stone, finishing processes and textures will highlight
Portland’s unique sense of place. Sculpted to appear billowing in the wind, the Story Quilt
Sculpture will reach some eight feet wide and five feet tall, in addition to a granite base.

 Quilt work and stitching have been used as the communication of travel, of
identification, and records of history and culture. In my sculptures I pair and assemble
multicolored granite pieces into a seamless intersection. Direct carving and pairing contrasting
varieties of stones has become the regular method serving my studio practice. Like the
fundamentality of building blocks, each portion of stone receives information and is dependent
on the previous component. From this playfulness emerges the culmination of a portrayal of
fragmented connection, much like a quilt pattern.

 I've been working out of my home studio in Windham, Maine since 2018, after 11 years
residing in Portland, receiving my BFA in Sculpture in 2013 from Maine College of Art and
running a shared art studio in Bayside of Portland, Maine. I aim to create primarily with local
Maine granite, and it informs me of my connection to home.




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 In college I had the opportunity to intern with the Schoodic International Sculpture
Symposium (SISS) in Orono, a symposium that gathered artists over the course of ten years and
created the largest public sculpture trail in coastal Downeast Maine. That summer completely
changed me and gave my sculpture passion a direction with meaning, enthusiasm, and
community. Interning with SISS introduced me to large-scale granite carving, Maine and
international sculptors, and a cultural exchange. Since working with SISS I have been able to
work alongside and learn from an older generation of Maine stone carvers, all who have their
own histories as Mainers and artists. I have become a long-standing member of the Maine
Stone Workers Guild since then and have been involved with multiple sculpture symposia
throughout Maine.

 These symposia are how we get the word out about our practice in public art by creating
art in the public to generate thoughtfulness about the histories of granite work throughout the
towns in which the symposia are held and sometimes where the finished sculptures end up
permanently. These symposia are the highlights of my career. There is an incredible amount of
curiosity and joy when they take place, as well as an outstanding number of community
members (from where the symposia is being held) that come to watch the work take place in
their front yard and thank the artists for being there. When a community and the artists
working both feel honored and thankful for one another, public art becomes a celebration of
life.

 The Story Quilt Sculpture is an artful account of Portland’s history and fellowship with
nature, commerce, and optimistic future. Portland’s redesign of the Portland Harbor Common
Park would benefit from the Story Quilt Sculpture by creating a common place for the diverse
cultures of Portland to find and celebrate themselves and their home in the telling of a
community surrounded by the sea.



 Thank you for your consideration,

 Isabel Catherine Kelley




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 Isabel C. Kelley
 Windham, ME
 icksculpture.com
 icksculpture@gmail.com
 603.689.6805


EDUCATION
2009-2013
 BFA Sculpture, Minor in Art History, Maine College of Art (MECA), Portland, ME, USA

PUBLIC ART
2025
“Exotica”, Riverwalk North Sculpture Trail, Ellsworth Library, Ellsworth, ME (Oct. ’25-’26)
2021
“Bloom” Purchased by Hallowell Arts permanently installed at Granite City Park in Hallowell, Maine
2019
“The Spirit I Crave” Temporary installation on the Boothbay Sculpture Trail, Boothbay, ME, USA
“R.I.P” Permanent installation at the Highland Memorial Cemetery, South Portland, ME, USA
2018
“Eye of the Birch” Temporary installation in downtown Gardiner, ME from May through October. Art in the Park
grant recipient.
“Eye of the Birch” Temporary installation at the UNE Art Gallery on College St., Portland, ME, USA
2017
 “The Site of Reservations” Permanently installed at the Andre’s Institute of Art in Brookline, NH, USA
“Reservations” On view at the Newagen Inn, Boothbay, ME, USA
2015
"Eye Of the Birch" On view at Viles Arboretum's sculpture trail in Augusta, ME, USA
2011
Portland Inside/Out (Aug.- Dec. 2011)
Large scale sound and photo community installation in Portland, ME, USA
Partners with TEDxDirigo, Portland Community, City Hall, VIA, Portland Color, No Umbrella Media, and more.
Collaborated and personally designed/installed installation sites. Developed relationships with community and
partners.

EXHIBITIONS
2025
“Quarries: Muse and Material”, Monson Arts Gallery, Monson, ME, USA (June 27-Nov. 2)
2023
“This Is Out of Hand”, ICA Portland, Portland, ME, USA (Aug. 14-Sept. 16)
2019
Boothbay Region Land Trust Points of View Art Auction, Boothbay, ME, USA
2018
Local Muscle Pop-up Gallery, September First Friday Art Walk, Portland, ME, USA
2018
UNE Sculpture Garden (May-October) UNE Art Gallery, Portland, ME, USA
2013
Garden Auction (July) Steuben, ME, USA
Boomerang (May) Maine College of Art Portland, ME, USA
2012




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MENSK Rooftop Film Series #3, Portland, ME, USA
Elements, 49 Oak St., Portland, ME, USA
2011
Nothing Major (February - March) Maine College of Art, Portland, ME, USA
Merit Show (March - April) Maine College of Art, Portland, ME, USA

PROFESSIONAL EXPERIENCE
2025
Rockland Stone Symposium, Rockland’s Snow Marine Park, Rockland, ME, USA (July 14-26)
2023
Art for Acres: Stone Symposium, Boothbay Region Land Trust’s Oak Point Farm, Boothbay, ME, USA (July 21-30)
2021-2022
Art Coordinator for 501c3 Sculpture Boothbay, Boothbay Harbor, ME, USA (Dec. ’21-current)
2021
Hallowell Granite Symposium, Stevens Common, Hallowell, ME, USA (Sept. 10-20)
2019
Boothbay Sculpture Symposium, Boothbay Common, Boothbay, ME, USA (July 25-August 7)
2017
Andre’s Institute of Art International Sculpture Symposium, Andre’s Institute of Art in Brookline, NH, USA (Sept. 16-
Oct. 7)
Maine Coast Stone Symposium Boothbay Railway Village, Boothbay, ME, USA (Aug. 10-21)
2016
Professional member of the Maine Stoneworkers Guild (2016-current)
Viles Arboretum Sculpture Symposium (September 30-October 10) Augusta, ME, USA
Alumni Bronze Pour (April) Maine College of Art, Portland, ME, USA
2015
Viles Arboretum Sculpture Symposium (September 25-October 5) Augusta, ME, USA
2014
Viles Arboretum Sculpture Symposium (September 11-21) Augusta, ME, USA
2012
Schoodic International Sculpture Symposium, Orono, ME, USA (July - August)
Employer Jesse Salisbury, Art Director

SCHOLARSHIPS AND AWARDS
2022
Margo-Harris Hammerschlag Biennial Direct Carving Competition Certificate of Merit from the National Association
of Women Artists, Inc., New York, NY, USA
2018
“Art in the Park” Grant, Gardiner, ME, USA
2011, 2012, 2013
State of Maine Grant Program
MECA Merit Scholarship
MECA Grant
2011
TedxDirigo Conference Scholarship
2009, 2010
MECA Merit Scholarship
MECA Grant




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Gabriel Frey
207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473




Letter of Interest | Gabriel Frey
Portland Harbor Common Public Art Commission 2025

As a Passamaquoddy artist and cultural leader, I am honored to submit this letter of interest
for the Portland Harbor Common Public Art Commission. My proposed work envisions a
Wabanaki spearfisherman, poised in quiet anticipation, grounded at the edge of land and
sea. He waits not only for the return of our fish relatives but also as a spiritual and cultural
presence; a reminder that Wabanaki peoples have always been here and will continue to be
here, caring for these waters and the generations who gather by them, both indigenous and
non-indigenous.

This opportunity is both personally and artistically meaningful. Sculpture is a powerful form of
storytelling, one capable of expressing presence, permanence, and reflection. Walking
through cities and landscapes marked by monuments and memorials, I’ve always felt the
absence of Indigenous art, especially in sculpture form. Indigenous histories, knowledge, and
contributions to that landscape are often obfuscated or, if present, expressed through a
colonized perspective. I want to challenge that absence or misrepresentation and create work
that affirms Wabanaki people’s continued presence, cultural values, and our rightful place in
the public imagination of Maine, both historically and into the future.

The proposed work draws from teachings I’ve grown up with, including a powerful saying: “If
we never take the first fish, we will never take the last.” This simple yet profound lesson guides
sustainable harvesting practices and reflects a broader Indigenous worldview; one that
honors restraint, reciprocity, and interdependence. The fisherman depicted in this sculpture
sees the first fish of the season but does not strike. His spear is raised, but his body remains
still, embodying both readiness and respect. His posture speaks to the patience of our
ancestors, the humility of being in relationship with the natural world, and the moral
responsibility of caretaking for the future.

Portland Harbor Common, situated on the traditional homelands of the Wabanaki, offers a
highly visible and symbolically resonant location for this work. Long before the industrial
development of the Eastern Waterfront, these shores were rich gathering and fishing places
for Wabanaki people. Our connection to this site and to these waters runs deeper than any
modern infrastructure. At the same time, I recognize the city’s layered history and the diverse
communities that now call Portland home. This sculpture is not intended to divide, but rather
to open, offering a contemplative figure whose story, teachings, and values are relevant to all
who visit the space.


 207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473



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Gabriel Frey
207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473




Portland Harbor Common Public Art Commission 2025 - Cont.

My intention is for the sculpture to serve as both a focal point and a witness. Its presence will
ground the park in deeper time, reminding viewers that the sea has always been a source of
life, identity, and connection; not just for commerce or tourism, but for sustenance, ceremony,
and care. I envision the work as large-scale and cast in bronze, able to withstand Maine’s
coastal climate, while drawing from traditional materials used in commemorative sculpture. I
am currently identifying foundry and fabrication partners and will bring forward collaborators
aligned with the integrity and cultural significance of the work.

As a twelfth-generation basketmaker and lifelong resident of Maine, my practice is rooted in
my identity as a Passamaquoddy person, father, and cultural advocate. My work has always
aimed to uplift Indigenous design, knowledge systems, and place-based practices; whether
through contemporary basketry, public speaking, or public art. In recent years, I’ve expanded
my practice into sculpture and metalwork, blending traditional forms with new materials and
approaches. This commission aligns with my ongoing trajectory and would offer a meaningful
opportunity to bring Wabanaki perspectives into the heart of Portland’s public space.

I believe public art should not only beautify but also dignify. It should reflect the community’s
full story, including those voices that have too often been left out. Through this work, I hope to
offer a gesture of presence, peace, and continuity; one that speaks to the endurance of
Wabanaki people, our values, and our commitment to future generations.

Thank you for considering my proposal. I would be honored to bring this vision to life at
Portland Harbor Common.

Sincerely,




Gabriel Frey
Passamaquoddy Artist & Cultural Leader
www.gabrielfrey.com




 207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473



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Gabriel Frey
207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473



Experience
PASSAMAQUODDY BASKETMAKER & SCULPTOR — 1998 – PRESENT

 Specializes in black ash basketry, bronze, clay, and copper sculpture.
 Creates functional and sculptural elements for Tekαkαpimək, integrating Wabanaki design into cast
 bronze, clay, and copper.
 Develop advanced metalwork skills in mold-making, lost wax casting, and patination.
 Exhibits in SWAIA Santa Fe Indian Market, Dawnland Arts and Ideas Festival, Lunder
Institute at Colby College, and Waterville Creates Gallery/Lightsout Gallery (2025).
 Collaborates with Manitobah

Cultural Educator & Mentor
Various Institutions & Community Programs - 2010 – Present

 Leads workshops and demonstrations in Wabanaki basketry and metalwork.
 Facilitates youth programming with the Wabanaki Youth and Science Program, sharing traditional
 and contemporary practices.
 Works with Indigenous artists to develop sustainable materials and market strategies.
 Educator, Maine Craft Association.
 Educator, New Brunswick College of Craft and Design (2015).
 Educator, Abbe Museum Basket Workshop (2021).
 Educator, Tobique First Nation (2022).
 Educator, Nibezun (2023).
 Educator, Cultural Connections.
 Educator, Houlton Band Maliseet Indians. (2026)
 Advisor, APCAW task force for black ash protection

Presentations, Awards & Fellowships
Various Institutions - 2016 – Present

 SWAIA Awards: Honorable Mention (2016, 2018, 2024), 1st Place in Basketry (2017), 2nd Place in
 Basketry (2019,2015)
 Presenter, As Far as One Can See: Visitor Contact Station Rises in Katahdin Woods and Waters,
 Portland Museum of Art (2023).
 Keynote Speaker, Shared Stewardship, Association of Art Museum Directors (2024).
 United States Artists Fellowship (2019).
 Maine Arts Commission Traditional Arts Fellowship (2021).
 Maine Craft Artist Award (2025).
 Indigo Arts Alliance, David C. Driskell Fellowship (2026).
 Podcast Features: Makers of Maine (2021), Cut The Craft, Episode 043 (2022).
 Co-Author, The First Blade of Sweetgrass (2021) – Selected for Library of Congress’s National Book
 Festival (2021).
 Awards for Children's Book: Lupine Award (2021), Maine Library Award (2022), Notable Social
 Studies Trade Book (2022), Bank Street Best Children's Book (2022), Chickadee Award Nominee
 (2023), Washington Children's Choice Picture Book (2023), Beehive Award (2023).

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Gabriel Frey
207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473




Exhibitions & Public Installations
Upcoming Exhibitions (2025-2026)

 SWAIA Santa Fe Indian Market (2026) – Large-scale bronze sculptures.
 Heard Indian Fair & Market (2026)-Traditional Wabanaki basketry.
 Lunder Institute at Colby College (2025) – Group exhibition featuring Wabanaki metalwork.
 Waterville Creates/Lightsout Gallery (2025) – Group exhibition featuring artists from diverse
 backgrounds.
 Maine Center for Contemporary Art Biennial Exhibition (2025)

Selected Works, Collections & Installations

 Selected Works, Collections & Installations
 Katahdin Woods & Waters National Monument, Tekαkαpimək Contact Station (2024) – Cast bronze
 door handles, clay mural and tiles, and woven copper works.
 Elliotsville Foundation Birchbark Canoe Project (2024).
 Hudson Museum Permanent Collection.
 Maine Historical Society, "Code Red" Exhibition (2023).
 Monson Arts, "Always Home" Exhibition (2021).
 Abbe Museum, "Twisted Path III" (2014).
 Abbe Museum Permanent Collection.
 Portland Museum of Art Permanent Collection.
 Colby Museum of Art Permanent Collection.
 North Carolina Museum of Art, "To Take Shape and Meaning" Exhibit, curated by Nancy Strickland
 Fields.
 Private Collections Worldwide.

Skills & Specializations

 Skills & Specializations
 Black Ash Basketry & Wabanaki Design
 Bronze, Clay, & Copper Sculpture | Mold-Making | Patination
 Painting (Oil on Canvas)
 Cultural Education & Community Engagement
 Exhibition & Market Presentation
 Sustainable Material Sourcing & Design Innovation




 207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473



 Page 80
Gabriel Frey
207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473




Professional Summary

Gabriel Frey is a Passamaquoddy artist whose family has been making black ash baskets since
time immemorial. Known for his highly original pack baskets and commitment to pedagogical
models that promote a broader knowledge of Indigenous worldviews, Frey selects and
harvests brown ash trees, pounds their trunks, and splits the growth rings apart to make
splints for weaving. His work merges traditional black ash basketry with bronze, clay, and
copper sculpture, ensuring the evolution of Indigenous craftsmanship while honoring his
ancestral lineage.

Inspired by the natural world, Frey transforms raw materials into functional works of art that
bridge the past, present, and future. His work interweaves cultural and family traditions with
personal experience and aspirations for future generations. Frey frequently collaborates with
contemporary artists on large installations, ensuring the continuity and innovation of
Wabanaki artistry.

Frey is a United States Artists Fellow (2019) and recipient of the Maine Arts Commission
Traditional Arts Fellowship (2021). Maine Craft Artist (2025). His work has been exhibited
nationally at SWAIA Santa Fe Indian Market (since 2016, earning numerous awards), the
Portland Museum of Art, the Abbe Museum (“Twisted Path III,” 2014), and the Lunder Institute
at Colby College (2025). His contributions to Katahdin Woods & Waters National Monument
and Tekαkαpimək Contact Station include cast bronze, clay, and copper works that integrate
Wabanaki double curves and sweetgrass braiding into functional and sculptural designs.
Beyond his practice, he is a dedicated mentor who shares knowledge with Wabanaki youth to
ensure the continuity of Indigenous cultural traditions.




 207-991-8479 gabrielfreybaskets@gmail.com 4 Sunrise Terrace, Orono, Maine 04473



 Page 81
 Ll 8wa
 6 5) THE UNIVERSITY OF 5746 Collins Center
 for the Arts
 ae ip Orono, Maine 04469-5746
Hudson Museum
 207.581.1904
 aoe
 y um.hudsonmuseum@maine.edu
 umaine.edu/hudsonmuseum

 February 10, 2026

 To whom it may concern,

 | am writing in support of Gabriel Frey’s sculpture proposal for the Portland Harbor
 Common Park. As Director of the Hudson Museum at the University of Maine, | have known
 Gabriel Frey for over 20 years. He is an amazing, award winning, and innovative Passamaquoddy
 artist, who began his artistic practice as a brown ash and sweetgrass basketmaker, following a
 family tradition that reaches back over 12 generations. His work has now expanded to embrace
 the use of birchbark, as well as fashion designs for Manitoba, a company rooted in Indigenous
 culture and designed to make a positive impact on Indigenous communities.

 As part of the creation of Tekakapimek, the visitor contact center for Katahdin Woods and
 Waters National Landmark, Gabriel created traditional carvings in the form of braided
 sweetgrass for the structure that were cast in bronze. Another work for the main entrance
 centered on double curve designs created to represent each Wabanaki tribe—Penobscot,
 Passamaquoddy, Maliseet and Mi’kmaq. In addition, he worked on other aspects of the center
 including a metal woven Wabanaki Basketry sculpture, titled We are Still Here, a Clay Tile
 Project, which is revitalizing ceramic traditions, and he assisted in the construction of a
 birchbark canoe that is central to the exhibit installation.

 At the Hudson Museum, he was commissioned to create a masterwork for an exhibit of
 contemporary Wabanaki basketry, pilawihasawal walatahkewakanal Transforming Traditions.
 He created a pack purse, which features an intricate metal sculpture on the lid of the Wabanaki
 Creation Story. It recounts how Gluskabe shot an arrow into the brown ash tree, splitting the
 tree and from the tree, the emergence of people.

 | highly recommend Gabriel for this commission. Gabriel proposes to create a sculpture
 of a life-sized Wabanaki spear fisherman in lost wax cast bronze for the Portland Harbor
 Common Park Artist Commission. This work will reflect Portland’s distinctive sense of place
 within the Wabanaki homelands and connect the fishing culture, past, present and future to the
 relationship between people, land and water central to Wabanaki peoples since the beginning
 of time.

 Sincerely,

 uy Creestve, Onna
 Gretchen Faulkner, Director
  HUDSON
  MUSEUM
 MalIne’s LAND GRANT, SEA GRANT AND SPACE GRANT UNIVERSITY
 WITH A REGIONAL CAMPUS IN MAcHIas
 Page 82
 aputamkon Birchbark Canoe
 Collaboration, 2024
  1

 Birchbark, black ash, cedar, pine
 pitch, and spruce root, 18’, Photo
 Credit: Erin Hutton

 The aputamkon Birchbark Canoe
 Collaboration focused on
 revitalizing Wabanaki canoe-
 building by returning traditional
 knowledge to the community and
 future makers. Through Project
 Birchbark, participants gathered
 materials sustainably, constructed
 an 18-foot birchbark canoe, and
 engaged youth in cultural
 preservation and hands-on learning.

 Gabriel Frey _1
Page 83
 Birchbark Baskets, 2024
  1
 Birchbark, black ash, leather, and
 spruce root, Left: 10.5" x 6" x 3";
 Center: 13" x 12" x 8"; Right: 8" x 8" x
 8”, Photo Credit: Gabriel Frey

 A set of three etched birchbark
 baskets featuring intricate
 Wabanaki double-curve designs.
 Each basket is constructed using
 harvested traditional materials,
 including birchbark, black ash,
 leather, and spruce root stitching.
 The surfaces are adorned with
 engraved patterns, reflecting
 cultural storytelling and
 craftsmanship.
 Gabriel Frey _2
Page 84
 Copper Weaving Ceiling
 Collaboration, Tekαkαpimək
 Contact Station, 2024

 Copper, patina, and wood, 20’ x 6’
  1
 x 9’, Photo Credit: Michael Wilson

 A large-scale copper weaving
 ceiling installation featuring a
 traditional Wabanaki herringbone
 pattern. The patinated copper
 strips create a striking contrast of
 warm metallic and deep green
 hues, reflecting the natural
 landscape. Integrated into the
 Tekαkαpimək Contact Station, this
 piece honors Wabanaki
 craftsmanship and copper’s
 cultural significance, blending
 tradition with contemporary
 materials.

 Gabriel Frey _3
Page 85
 Tekαkαpimək Wabanaki Double
 Curve Bronze Door Pulls, 2024

 Bronze, 27" x 27" x 5”, Photo Credit:
 James Florio and Michael Wilson

  1 A pair of half-circle bronze door
 pulls carved with Wabanaki
 double-curve design, seamlessly
 blending cultural symbolism with
 functionality. The textured surface
 and raised designs reflect
 traditional Wabanaki visual
 language, incorporating elements
 of nature and storytelling. As
 visitors grasp the handles, the
 curved form evokes the feeling of
 holding a canoe paddle, creating a
 tactile connection to Wabanaki
 waterways and traditions. Installed
 at Tekαkαpimək Contact Station at
 Katahdin Woods & Waters National
 Monument.
 Gabriel Frey _4
Page 86
 Gabriel Frey Manitobah
 Collection, 2025

 Leather, Multiple sizes, Photo
 Credit: Manitobah
  1

 Launching Spring 2025, this
 collaboration with Manitobah
 integrates Passamaquoddy
 basketry techniques into
 contemporary footwear design.
 Traditional Wabanaki weaving
 patterns are reimagined using
 modern materials, creating a
 collection of woven sandals that
 honor ancestral craftsmanship. By
 expanding Indigenous artistry into
 wearable design, this work ensures
 that cultural techniques continue
 to evolve and remain relevant in
 new forms.

 Gabriel Frey _5
Page 87
  1

 Indigo Herringbone Ash Purse,
 2018

 Black ash, leather, and natural
 dyes, 9" x 4" x 3”, Photo Credit:
 Gabriel Frey

 Woven black ash dyed with natural
 pigments to create a bold indigo
 herringbone pattern. The
 structured form is finished with a
 burnished leather top and
 adjustable strap, secured with
 brass hardware.


 Gabriel Frey _6
Page 88
  1



 Tekαkαpimək Wabanaki Double
 Curve Bronze Door Pulls, 2024

 Clay, 64" x 28" x 3”, Photo Credit:
 James Florio and Michael Wilson

 Cut tile ceramic relief expressing a
 Wabanaki relational world view of
 accountability and reciprocity with
 our more than human relatives.
 Installed at Tekαkαpimək Contact
 Station at Katahdin Woods &
 Waters National Monument.


 Gabriel Frey _7
Page 89
 Uli-tpinomuwan (Protect it well),
 2025

 Bronze, black ash, spruce root, and
 walnut, 12" x 6", Photo Credit:
 Michael Wilson

 A bronze figure stands in
 contrapposto, (a posture easily
  1 recognized by dominant society as
 art) in one hand he holds a basket
 (a vehicle for economic
 sovereignty in the face of violent
 assimilation policies) in his other
 hand he protects the heart of his
 culture, he carries this with him
 but does not offer it, he wears a
 chief’s collar and headdress
 (traditional ambassador of
 community. There are countless
 documents aimed at stripping
 indigenous people of their
 humanity that he must walk
 through in order to assert his
 sovereignty.


 Gabriel Frey _8
Page 90
 Nohonul Posonutiyil
 Kcicihtomuwakon (Three Baskets
 of Wisdom), 2023

 Black Ash, 36" x 18" x 18”, Photo
  1 Credit: Gabriel Frey

 Sculptural work woven directly
 from a black ash tree, featuring
 three interconnected baskets that
 emerge from the tree itself. This
 piece honors the Wabanaki
 tradition of basketmaking, where
 the material is harvested with
 deep respect for the land. Each
 basket represents a stage of
 knowledge, continuity, and
 intergenerational wisdom,
 emphasizing the reciprocal
 relationship between nature,
 culture, and craft. Photo Credit:
 Gabriel Frey

 Gabriel Frey _9
Page 91
 If we never take the first fish, we
 will never take the last

 Rendering: Gabriel Frey

 This sculpture study for the
 Portland Harbor Common Public
 Art Commission, situated on the
  1
 traditional homelands of the
 Wabanaki, depicts a fisherman
 who sees the first fish of the
 season but refrains from striking.
 His spear is raised, but his body
 remains still, embodying both
 readiness and respect. His posture
 speaks to the patience of our
 ancestors, the humility of being in
 relationship with the natural
 world, and the moral responsibility
 of caretaking for the future.

 My intention is for the sculpture to
 serve as both a focal point and a
 witness.

 Gabriel Frey _10
Page 92
Celeste Roberge

Portland Harbor Common Public Art Commission

Letter of Interest

February 11, 2026

I am writing to submit my qualiﬁcations for the public art commission for the newly
designed Portland Harbor Common Park. I think it is important to state at the outset,
before you take the time to read this letter of interest and study my qualiﬁcations, that if
awarded this commission, I would not be able to meet your November 2026 deadline,
unless you were to purchase existing work such as Fisherman’s Knit Sweater. It is not
possible to create a new sculpture of any quality with technical demands in less than 5
months, which is the schedule that you put forward in your Timeline. A more practical
timeline for me would be for installation to take place one year from the date of
commission and receipt of deposit. So, if this is not a possibility for consideration, then you
need not read any further. Thank you for taking this into consideration.

As I think about the site at the terminus of both Commercial Street and India Street along
the waterfront, it seems evident that the sculpture should reference the ocean, the working
waterfront, and the products of the sea. As a native Mainer, the ocean has never been far
from my consciousness as can be seen in my sculptures from the past 25 years beginning
with granite glacial cobbles that ﬁll my sculpture Rising Cairn (2000) at the Portland
Museum of Art, to beach sand in Body/Sea (1993), oyster shells in Coquina (1995), mussel
shells in Where Have All the Mussels Gone? (2023) and Mind/Mussel (1993). Since 2008,
seaweed (scientiﬁc name marine macroalgae) has become my medium, raw material, and
image of choice. I have made hundreds of sculptures, drawings, collages, cyanotypes, and
photographs of seaweed in the past 18 years. See Works:Seaweed on my website. One
sculpture that I think most relevant to this public art commission is Fisherman’s Knit
Sweater (2021-2022), a larger-than-life size sculpture of a ﬁsherman’s knit sweater
originally made of seaweed and wax where the traditional cables are represented by three
diYerent kinds of brown seaweed, Saccharina latissima, Digitata, and Ascophyllum
nodosum, all of which are native to the Casco Bay region, with Saccharina being farmed
nearby by local aquaculturists. The prototype of Fisherman’s Knit Sweater was then cast in
bronze and mounted on a fabricated welded steel base. I have a written essay about
Fisherman’s Knit Sweater that I am happy to share but will not include here because it
would exceed the word limit.

More recently, I have been making what I call Seaweed Zips from specimens of kelp. They
stand anywhere from four feet to seven feet tall and are very narrow in width and depth.




 Page 93
They either curve through space as seaweed does underwater as it reaches up to the sun
for photosynthesis or they are straight and narrow as if weighted or hanging from a line.

Seaweed is part of the blue economy and is important to Maine ﬁsherman and to Maine’s
economy. I think the subject of seaweed could be an innovative approach to a public art
sculpture since it is highly aesthetic and relates to the economy of the working waterfront.
Your budget of $150,000 would allow for ﬁve of these tall cast bronze Seaweed Zips
arranged in a irregular circle and attached to a large granite substrate with bronze
holdfasts. I imagine this granite mound to which the Seaweed Zips would be fastened as
something that is approachable and walkable.

I am qualiﬁed to carry out a large project such as this commission by virtue of my
experience making large outdoor sculptures that have been acquired by both museums
and private collections. The Fisherman’s Knit Sweater cast bronze sculpture already exists
and would only need to be permanently mounted on a stone base of some kind in
consultation with the landscape architect for the project. This sculpture could be installed
by your Timeline deadline of November 2026. I have been sculpting the Seaweed Zips in
wax and seaweed since May 2025 and now, 9 months later, I am seeing some of them
brought to completion. This is why I know that completing a series of ﬁve bronze Seaweed
Zips mounted on granite by November 2026 would be impossible.

Thank you for the opportunity of presenting my credentials and my thoughts. Good luck
with the selection process.

Sincerely,

Celeste Roberge

352-327-1080

celeste@celesteroberge.com

www.celesteroberge.com




 Page 94
Celeste Roberge
PO Box 2607
South Portland, ME 04116-2607
celeste@celesteroberge.com
www.celesteroberge.com

EDUCATION
1986 MFA Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada
1979 Skowhegan School of Painting and Sculpture, Skowhegan, Maine
1979 BFA Maine College of Art & Design, Portland
1975 BA Sociology, University of Maine, Orono
2008 Honorary Doctorate of Humane Letters, University of Maine, Orono

SELECTED SOLO EXHIBITIONS
2023 Women of the Gulf of Maine, Moss Galleries, Portland, ME
2018 Thinking While Walking Under the Sea, Waterfall Arts, Belfast, ME
2017 Drawing with Seaweed, PhoPa Gallery, Portland, ME
2014 Ocean Floors, Crisp-Ellert Art Museum, Flagler College, St. Augustine, FL
2010-2014  Granite Sofa, Installed in the lobby of Farnsworth Art Museum, Rockland, ME
2006 Long Red Stack, Commission and outdoor installation, Pollack Terrace, DeCordova
 Museum & Sculpture Park, Lincoln, MA
2002 Sitting Room, Outdoor sculpture installation, Gulf Coast Museum of Art, Largo, FL
1993 The Mind is a Muscle, Farnsworth Art Museum, Rockland, ME
1989 Northern Archives: Views from the Hill and Objects in the Field, Portland Museum of
 Art, Portland, ME1988

SELECTED GROUP EXHIBITIONS
2025 The Monson Sculpture Project, Monson, ME (5 sculptors)
2025 Riverwalk North, Ellsworth, ME (6 sculptors)
2024 Life Forms, Speedwell Contemporary, Portland, Maine
2023-24 Surrealism at the Harn: A Centennial Celebration, University of Florida, Gainesville
2023 The Cultures of Seaweed, New Bedford Whaling Museum, New Bedford, MA
2023 Shifting Sands: Beaches, Bathers and Modern Art, Ogunquit Museum of American Art,
 Ogunquit, ME
2023 Generations, Maine Art Gallery, Wiscasset, ME
2020 Seaweed Sensibilities, George Marshall Store Gallery, York, ME
2018 Bench Space, Shelburne Museum, VT
2018 Curious Nature, ICA, Maine College of Art & Design, Portland
2018 Interior Effects: Furniture in Contemporary Art, Fitchburg Art Museum, MA
2013 Maine Women Art Pioneers III, University of New England, Portland, ME
2010 Biennial, Center for Maine Contemporary Art, Rockport, ME
2010 Mill-ennial, Saco Museum, Saco, ME and North Dam Mill, Biddeford, ME
2009 Vision/Revision: Contemporary Art, Harn Museum, Gainesville, FL
2008 Aurora Borealis: Magnetismus und Licht, Spedition, Bremen, Germany
2008-08 Sculpture on Sample, Public Art Project for eight invited artists, Coral Springs, FL
2007 Modern Dimensions: Contemporary American Sculpture (Walter Dusenbery, Ming Fay,
 Robert Lobe, Robert Mangold, Celeste Roberge, John Ruppert, Nancy Youdelman) Eight
 Modern Gallery, Santa Fe, NM
2006 Outdoor Biennial Sculpture Exhibition, Allied Arts, Chattanooga, TN
2005 South X East: Contemporary Southeastern Art, Schmidt Center Gallery, Florida Atlantic
 University, Boca Raton, FL


 1

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2004 Home, d.u.m.b.o. Art Center, Brooklyn, NY
2003 Biennial, Portland Museum of Art, Portland, ME
2003 The Chairs Project, Emory University, Atlanta, GA
2002 Maine Coast Artists 50th Anniversary Exhibition, Center for Maine Contemporary Art
2001 Material and Metaphor, Jacksonville Museum of Modern Art, Jacksonville, FL
2000 Sarasota Biennial, Ringling Museum of Art, Sarasota, FL
2000 Expo 2000: International Stone Sculptors, Hanover, Germany. Six artists from six
 continents invited to work at the off-site quarry project: Steinzeichen Steinbergen
1999 On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture
 Park, Lincoln, MA
1998 Picturing the Sierra Nevada, Nevada Museum of Art, Reno, NV
1996 Skowhegan at 50: The Maine Legacy, Maine Coast Artists, Rockport, ME
1995 Sculpture on the Grounds, Florida Gulf Coast Art Center, Belleair, FL
1995 Contemporary Sculpture at Chesterwood, Stockbridge, MA
1995 Plaster Works: Cast of Six, The Lamont Gallery, Phillips Exeter Academy, Exeter, NH
1995 Biennial, Orlando Museum of Art, Orlando, FL
1992 11 Artists/11 Visions, DeCordova Museum and Sculpture Park, Lincoln, MA
1990 Flesh It Out, Anderson Gallery, Virginia Commonwealth University, Richmond, VA
1987 Skowhegan: A Ten-Year Retrospective, Touring exhibition to: Portland Museum of Art
 University of Maryland, College Park, Valencia Community College, Orlando, FL
1987 Skowhegan: A Ten-Year Retrospective, Leo Castelli Gallery, New York, NY
1985 Mainers Away, Joan Whitney Payson Gallery, Westbrook College, Portland, ME
1983 Painting & Sculpture Show for New York and New England, The Berkshire Museum,
 Pittsfield, ME. Awarded prize for sculpture.
1983 Maine Invitational, Bowdoin College Museum of Art, Brunswick, ME
1982 Spectra II, Maine Coast Artists Gallery, Rockport, ME
1982 Maine Sculptors, Maine Festival, Bowdoin College, Brunswick, ME
1981 Maine Women Artists, Maine Coast Artists, Rockport, ME

SELECTED MUSEUM AND CORPORATE COLLECTIONS
Kohler, Inc; John Michael Kohler Art Center, Crystal Bridges Museum of American Art; Emory
University; Portland Museum of Art, Nevada Museum of Art, Jackson Laboratories; Farnsworth Art
Museum; Harn Museum of Art, Runnymede Sculpture Farm; University of New England; private
collections from Maine to California.

SELECTED FELLOWSHIPS, GRANTS AND AWARDS
The Arctic Circle, Svalbard, Norway. Art and Science Summer Symposium Summer 2019
Monson Arts, Monson, ME. Artist Residency, Nov/Dec/ 2018
Maine College of Art, Artist Residencies at Baie Ste Marie, Nova Scotia,2010, 2011, 2017
Arts/Industry Residency, John Michael Kohler Arts Center and Kohler, Inc. Wisconsin, 2013
American Antiquarian Society, Worcester, MA. William Randolph Hearst Fellowship, 2008
Union of Icelandic Visual Artists, Artist Residency at SIM House, Reykjavik, Iceland, 2007
State of Florida, Div. of Cultural Affairs, Individual Artist Fellowship, 2006,1999
University of Florida, Research Foundation Professorship, 2004-2007and numerous research
awards from 1995 to 2014.
Pollock-Krasner Foundation, NY Artist Grants 1998 and 1991
MacDowell Colony, Peterborough, NH Resident Fellow,1991
Radcliffe Institute, Harvard University, Cambridge, Bunting Fellowship, 1988-89

REVIEWS AND PUBLICATIONS: See my website celesteroberge.com



 2

 Page 96
Celeste Roberge

Portland Harbor Common Public Art Commission

List of Works

01_Fisherman’s Knit Sweater, Front view. 2021-2022, cast bronze, Sweater: 31” x 37” x
Welded ½” steel Base: 32” x 23 ½” x 13 ½” Courtesy the artist.

02_ Fisherman’s Knit Sweater, ¾ side view. 2021-2022, cast bronze, Sweater: 31” x 37” x
Welded ½” steel Base: 32” x 23 ½” x 13 ½” Courtesy the artist.

03_Body Sea, 1993, Welded galvanized steel and 4000 pounds of beach sand. 54” x 57” x
43”, Courtesy the artist.

04_Coquina, 2000, Welded galvanized steel, 1,000 pounds oyster shells, 72” x 24” x 36”,
Private Collection, Boca Raton, FL

05_Mind Mussel, 1993, Welded galvanized steel, 350 gallons blue mussel shells, 60” x 72” x
43” ,Courtesy the artist.

06_Where Have All the Mussels Gone? 2023, 250 gallons blue mussel shells, calceria
bryozoa, ﬁberglass, wood, sculpture paste. Approximately 8 feet by 8 feet irregular oblong.
Temporary ﬂoor installation at Ogunquit Museum of American Art. Courtesy the artist.

07_Chaise Gabion, 2014, Welded and fabricated stainless steel, 1,300 pounds of
Downeast glacial quarry rocks, 27” x 27” x 72”, Temporary loan to The Monson Sculpture
Project.

08_Seaweed Zip #1, 2025-2026, work in progress, cast bronze, basalt, approximately 72”
high. Courtesy of the artist.

09_Seaweed Zip #1, 2025-2026, work in progress, cast bronze, detail of holdfast on basalt.
Courtesy of the artist.

10_Seaweed Zip, 2025-2026, four works in progress, cast bronze. Courtesy of the artist.




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 Portland, Maine has a special place in my heart. I spent my formative years in
undergraduate school at Maine College of Art class of 2000 and even earlier than that in
pre-college art program. So, I've seen the city grow and change over a long period of time.

 I grew up half-feral on the coast of Maine, a wild child spending endless hours
climbing the rocks, believing that beaches should be craggy cliffs and sea rounded stones.
I spent a childhood building boats and have deep connections to the sea. My father was a
boat builder and I grew up working on boats and working on the sea as a kayak guide as
well in my 20s and 30s.

 I also have an ongoing relationship with Maine and Portland. I go back to teach at
Haystack Mountain School of Craft frequently and of course have a relationship with Maine
College of Art and Design. Just this fall I dropped in as a visiting artist and lecturer with the
Sculpture Department. My first public art piece was and is in Portland, Cloud Couch and
Rustle on the Back Cove trial. That project was almost two decades ago now and I would
love to bring my newest work to the Portland Harbor Common evolution of the Portland
Harborfront. I already have a couple of ideas for the space that you're building.

 My two ideas are growing naturally from my body of work. The first is much like the
fabric piece that you'll see in my portfolio installed in Portsmouth, New Hampshire. It is
heavy metal formed into the illusion of fabric, but its purpose is to bring feeling. What I
want it to feel like is the memory I have of when a storm is out to sea and the wind is so
strong that you can lean into it, that you can trust it, and it can hold you. There’s a wildness
to the zone where land meets sea. It’s a wildness that I've always been attracted to. The
fluidity in my work is part fashion, but also part the tide. The first design I have in mind
would reflect this feeling and be a natural evolution from the public work that I've done that
has this fluid feeling. In many ways my craft is driven by embedding these hard permanent
materials such as metal and concrete with soft fluid soles.

 The second idea is in line with my most recent work. This past year I have been
building an enormous mythical beast, a dragon, and it shows a new line of my work using
representation.

 Last summer, I found myself paddling from the north end to Fort Gorges. And while
there at low tide exploring the sandbar, I saw the most amazing, brave and inspiring hermit
crabs. Strutting around showing that this was their island. The idea to build a much, much,
larger than life hermit crab. A contemporary character, true to the ones I met at Fort
Gorges. But its shell would be a small shed (fishing hut?) something along those lines. Of
course, I'm not sure yet. These are just the two beginnings I have after looking at your
design. Projects like this are my ideal, where as an artist, I'm working alongside the
landscape architects and we're building at the same time.

 I've spent the past 10 years dedicated to public art and increasing my scale using
durable materials such as stainless and weathering steel, bronze, and painted steel. The




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project budget and scale is very much the type of work and project size I've been doing for
the last five years or so. My studio is in Pembroke NH, so quite close and I'd be more than
happy to come up with the design for this space. Thank you for your consideration.


______________________________________________________________________________

Vivian Beer

vivianbeer.com
vb@vivianbeer.com
(845)239-2729

education

2004 M.F.A. Cranbrook Academy of Art, Bloomfield Hills, MI Major: Metalsmithing.
2000 B.F.A. Maine College of Art, Portland, ME Major: Sculpture. Graduated with honors

residencies fellowships and Awards

2016 United States Artist Fellowship, Representing nine creative disciplines, each USA
 Fellow receives an unrestricted $50,000
2016 Cranbrook Academy Alumni Achievement Award, Cranbrook Academy of Art,
 Bloomfiled Hills, MI
2016 Winner, Ellen’s Design Challenge, HGTV
2014 Smithsonian Artist Research Fellowship,, Washington DC
2005-2008 Resident Artist, Penland School of Craft, NC

solo exhibitions

2016 Vivian Beer: Refining Landscapes, Gallery 344, Cambridge Arts Council,
 Cambridge, MA
2015 The ANNEX presents Vivian Beer, the ANNEX, Manchester, NH
2015 Vivian Beer: Tributaries, National Ornamental Metal Museum, Memphis TN
2014 Vivian Beer: Streamlining Desire, Wexler Gallery, Philadelphia, PA
2013 New Works, Mobilia Gallery, Cambridge, MA
2013 Designed in SO Cal, The Bakery, San Diego, CA
2011 Vivian Beer: Infrastructure, Wexler Gallery, Philadelphia, PA
2011 Vivian Beer: Process, Aurthur M. Berger Gallery, Manhattanville College, Purchase,
 NY
2011 Vivian Beer: Industrial Glamour, Courthouse Gallery Fine Art, Ellsworth ME
2009 Vivian Beer: A Colorful Tide, 1912 Gallery, Emory & Henry College, Emory, VA

selected group exhibitions




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2024 Homo Faber Biennial: The Journey of Life, Fondazione Giorgio Cini,Venice, Italy
2015 Pathmakers: Women in Art, Craft and Design, Midcentury and Today, Museum
 of Art and Design, New York, NY
2012 40 Under 40: Craft Futures, Renwick Gallery of the Smithsonian American Art
 Museum, Washington DC
2011-2012 Dubh: Dialogues in Black, Irish American Historical Society, New York NY &
 Oliver Sears Gallery, Dublin Ireland
2011 The Art of Seating: 200 years of American Design, (traveling museum exhibit)
selected publications lectures and panels

2021 Women Made: Great women designers (pp. 37) Phaidon Press Limited, London,
 England.
2020 “Vivian Beer: Powerful, playful work that defies expectations” pub: The Design Edit,
 Paul Clemence November 18, 2020
2018 “Studio Visit: Vivian Beer” pub: Art New England, Christopher Volpe March/April
2016 “Woman of Steel” pub: Metalsmith, Patricia Harris and David Lyon, Vol 36/No 2.
 (pg. 28-35, pg.2)
collections

2024 STRENGTH IN DRAG, Buffalo Creek Arts Center, NV.
2023 Woven Together, Impact and Woven sculptures, Portsmouth, NH.
2021 Bloom: Infrastructure Lamp no. 1, Museum of Glass, Tacoma WA.
2021 Anchored Candy no. 12, Cranbrook Art Museum, Bloomfield Hills MI.
2021 Shuttle seats, , Common Thread, Capertown Plaza, Greenville SC.
2021 Current, designed 2004, Columbus Museum, Columbus GA.
2020 Repurposed Strength, Chapel Hill-Chauncy Hall School, Waltham MA.
2018 Anchored Candy no. 6, The Metal Museum, Memphis TN.
2018 Machined Nature: Anchored Candy no 9, Davidson College, Davidson NC.
2018 CPG Chair, Driehaus Museum, Chicago IL.
2017 Matter Wave, University of Maine, Orono ME.
2017 Anchored Candy no. 7, The Greg Museum of Art and Design, Raleigh NC.
2016 Dressed up and Pinned, City of Arlington VA
2015 Anchored Candy no. 8, The Currier Museum of Art, Manchester NH.
2014 Gear Tuffet, The Museum of Art and Design, New York, NY.
2013 Anchored Candy no. 5, The Museum of Fine Art, Boston MA.
2012 Current, designed 2004, steel and automotive finish. The Brooklyn Museum, NY.
2012 Slither. Walk. Fly, The Renwick Gallery of the Smithsonian American Art Museum,
 DC.
2012 Thunderhead, at Old Morse Park, commissioned by City of Cambridge, Cambridge,
 MA.
2009 Red Rocker, The Fuller Craft Museum, Brockton, MA.
2008 Rustle Diptych, and Cloud Couch. At Winslow Park, The city of Portland, ME
2008 Spine, The National Ornamental Metal Museum, Memphis, TN.




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Impact, 2023, Formed and
fabricated steel and
automotive paint finish
Location: Portsmouth NH




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Woven, 2023, Formed and fabricated silicon bronze
Location: Portsmouth NH




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Strength In Drag, 2024, formed and fabricated steel, paint
Location: Buffalo Creek Arts Center, NV




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Shuttles, 2021, Cement, steel, rust patina
Location: Camperdown Plaza, Greenville SC




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Dressed Up and Pinned, 2016, fabricated steel and automotive finish
Location: Arlington, VA




Thunderhead, 2012, hydraulically formed and fabricated stainless steel
Location: Old Morse Park, Cambridge MA




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Machined Nature: Anchored Candy no. 9, 2018, steel, automotive paint, stainless and
landscape
Location: Davidson College, Davidson NC




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Work in progress.
Weathering steel




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