The scope of art in the public realm is extensive, from the monstrous Seed Cathedral by Heatherwick Studio’s to the tiny people installations by Slinkachu.
Public art is everywhere, even if it is not immediately noticeable.
I have found that public art can be as glaringly obvious such as the 4th plinth in London’s Trafalgar Square, where I researched specifically into Katharina Fritsch’s addition, The Blue Han Cock, or equally the subtle creations of rock pool candy’s leaf cut outs, which are made and left in situ for people to discover by chance, sitting quietly within it’s environment, without even the need for an audience. It can be a cathartic way in which an artist works in response to their own creative inspirations but I feel therefore as it is within the public realm, it should be considered as public art.
To create public works you can come from a varying background of training or no training at all. The materials you use or have around you can result in working in different ways or even taking a complete change of direction, like in the case of Gregory Kloehn and also in my own case where using corn dolly crafts in my work attracted the attention of the college which led me to run my own workshop at this years Bovey Tracey Contemporary Craft Festival.
Public realm art can be a solo effort, collaboration with other artists, designers, public services, communities and commissioning bodies, or they can be subversive and even illegal.
Public art provokes thoughts, discussions, solutions, solace and rejuvenation to spaces in which the public use every day for many differing purposes. It can be political, confrontational and not always provoke positive responses, which may or may not be the intended outcome.
I am now more aware of how to approach public commissions and how to submit my ideas, to apply for funding, places to support my learning and development and have had personal experience of working to a 3rd party brief with my London Design Museum submission. This was a good lesson in producing design boards at a professional level and taking on constructive criticism.
By researching and reflecting on art works within the public realm, I have found artists who are working in many different areas and medias, all collaborating to achieve incredibly diverse results.
Artists working in this way are able to make contacts with other creative practitioners, designers, organisations and funding sources, making valuable industry connections and enabling future professional networking resources. I had not previously considered that as a craft maker I would be suited to designing in this particular sector. Designing or organising projects, working with other people in order to create finished pieces or installations could be another aspect for me to enter into the public realm, as this one of my strengths. It has given me the confidence to further research opportunities in this area and to consider creative careers as an alternative direction extending my earning potential, along side that of hands on making.
I feel my research and documentation in this area has improved my practice. I have a deeper understanding of other professional areas where I could as a crafts person utilise my skills in alternative ways within the industry and setting of public realm art.
Public Realm 