I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. I'm going to go to the next slide. It is Wednesday April 16th, 2025. We have a lot of special guests here today, and we welcome you and thank you so much for being with us. We want to start with the Pledge of Allegiance. So if everyone would please stand and repeat after me. I pledge allegiance to the flag of the United States of America and to the Republic for which it stands. One nation under God, indivisible with liberty and justice for all. Thank you. All right, roll call please. Chairperson Lomax. Present. Chairprotem Bruner. Present. Commissioner Gullo. Present. Commissioner McMillan. Present. Commissioner Pollywell. Present. Thank you. Thank you. All right, we're going to start with a very special presentation. I want to turn over the time to Director Chad Clinton. Thank you, Chairperson. Lomax, yes. A very special presentation. That's the program. This is a very special project that I've been talking about earlier this year that came to I was watching my attention by some of who's a former employee of the city of Tuston. You may or may not be retired. And you may or may not be in the audience today. Jerry Craig, who identified that the lockers at the Tustin temporary shelter could use some TLC. They were in pretty bad shape, rusted, they've been painted previously, but they were a little bit of an eye sore. And Mr. Craig had the bright idea to combine painting those with a public art project, which, if you recall, commissioners brought to your attention as sort of an FYI and the commissioners were all for it. You all five were definitely for it and so we began a process of looking at what that would take. And fast forward to today, we have a finished product, a project. And that's what we're here to celebrate and to recognize those involved today. And someone is very excited. And that is great. I am excited too. I am very excited as well. So this is a project where the different banks of lockers at the test and temporary shelter were painted with some very vivid imagery that was designed by testing to fight school district students, by testing to fight school district student artists. And with their teacher, the teacher on special assignment who I'm gonna introduce in a little bit, just being incredible in this process. So what I'd like to do first is we actually have a video made of the actual process and by Ken Kishima, who also may or may not be in the audience with Tussi Unified School District. So if we're ready on that Katrina, could you bring that up? I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a great person. I'm a coordinator of curriculum and instruction. I get to oversee DAPA and this great project that we are doing to support our local community led by Isabelle Gray. Ready? What we're doing is we're creating a mural that kind of is cohesive through all of these different walkers here. Students throughout Tusson were invited to submit designs. Hi, I'm Jacob Arriola from Tusson, thanks to you and this is my design. And we worked with the city of Tusson to select it. And then yesterday we did the initial outline of it and today we're starting to do the blocking in of the color and things like that. That's where we're doing. I should have worn more painty clothes, but I will. This is Saturday day three of Painting the Lockers. Yeah. Give in second chances. I don't need all the answers. What's your name? My name is Kea. Kea. Navarro. Yeah. Mark, is that you? I'm Joe Pazovic, I'm happy to support my wife and come over here and volunteer my time to create this great project up the ground. Good job. We're on day five now. So now it's time to get in those little details like the lily pads and the flower blossoms and some sparkles in the water. Little details that will make everything really pop and stand out. Awesome! Hi my name is J.O. So Chanel. I got you a Tussent High School. I want you to really like it about painting it. It's really relaxing and also you get credits for college. Hi my name is Kit Me Kenis. I'm a senior at Tussent High School and currently I am working on this for my National Art Honor Society hours. This is today's group. Ah! Tomorrow is the best group. I made a mistake! Ah! We got to some high and we're mainly doing this for the community service but also because it's pretty fun. My name is Ashley and I heard about this through Instagram. I posted the new volunteers. There was an email that went out and so I signed up for that. Our friend reached out and I decided this would be a great way to spend an afternoon giving to others. So we're towards the end. We're at day eight so it's been a whole weekend one day We want to be very careful with this we could be loose with some of the other stuff But this is like where it finally is all coming together. Cause you're sky full of stars Cause you're light up the path We're just staying at the end We're finishing some detail We'll just wait for a little break A little break, not stopping. We didn't even work in school. I really enjoyed doing this today because it was a way to help count. I'm Koran and I got a LaDera Elementary School. And I'm doing this because I know that there are a lot of people in this world that need things more than we do and I think this is the least we could do to them. We are on the 11th of this mural project. We should be done maybe tomorrow. You're done? Yeah, we can. So we're wrapping up. I think it looks pretty great. Like this black lining has really helped the whole composition. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. This project was done in collaboration with TUSD, the city, and also the rescue mission. We had over 60 student submissions and out of that 60 submissions we selected 12. There was over 40 different volunteers that came. So we had so many people come help. Almost all of our schools were represented. There was a lot of people that came together. And I think that that's what makes this project really special is that it's all of us coming together to beautify the space and make it special for the people that are living here and just brighten it up a little bit. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit. I'm but you really saw a great video, great picture of what this was about. Now, there was a great original idea from Mr. Craig. There was support from the Public Art Commission, support from Tussling and Fights School District, talented artists who contributed contributed designs and artists, student artists as well as volunteers to help paint it. But for my money, the person that pulled it all together, the glue for this project, you saw her doing the slow motion walk. You saw her dancing around in the rain, but the energy and the creativity that she brought to this project. I'm just very thankful for her and very thankful for what this project wouldn't have been what it is, pulling it all together with her. So I'm going to bring up to this stage the visual and performing arts teacher on special assignment. Vapatosa is what the acronym there is, orosa Vapatosa is about great. Thank you so much for having us. This really has meant a lot to us. For me personally a personal note like I think this is one of the most meaningful projects I've ever done. I've been an artist for all of my life and I've sold artwork, I've done it all. But as you can see my shirt, educator, artist, visionary, and this is what this project really did is bringing that all together and so many different community members involved and I feel like so privileged to be able to have this collaboration with the city. and you all supporting this project because the students got a lot of positive affirmations about their work and our student artwork being meaningful. And then all the volunteers, they just appreciated it so much to be part of it. And I just appreciate all the support of everybody here and our students are volunteers and everybody. So thank you so much. What we're going to do now is we'll go ahead and I'm going to list the names of the students that participated in this project. We have some of them here. So when I say your name, you're going to come on up, you're going to get your certificate and then we're going to have you stand over here. Correct? Okay. Monica Touch is not here. Let me actually read these because this is an order. Good. OK. Brandon. Congratulations. Congratulations. Francisco Arango, who couldn't be here. Let me also mention some of these seniors. Their last day was yesterday. Some of these are high school seniors, and tonight they have grad night. So they wanted to meet to also mention that they wish they could be here, but they're feeling a little overwhelmed with the life transition and stuff. So, okay. Jacob Ariola, who's also one of our seniors from Test and High School. Raquel Marshall, who is also a senior at Testin High School. Emmy Velasco, who is a senior at Testin High School. Divine Topper, she is not here tonight, but she is from middle school. Mila Griffin, we havevarado, James Coon who could not be here Beckman High School, Laura Delworth. At Middle School. Lewis. Nora Dilworth, at Middle School. Lucy Akiyama, and I'm going to say one thing about her artwork briefly. She's the one that did the Lily Pads and the Lotus Flowers, which was the one that was cohesive, that we kind of caught her eye as something that we could use as inspiration for the whole artwork. So congratulations. Thank you. And then just to honor the students that are not here, we have Erica Gonzales, Samuel Ramirez, and also Monica Touch, I already mentioned that. So these are the students that submitted artworks that inspired the project. Okay. Okay. So let's move on to the next one. Once you sit there, once you move, what is the other? The moment you sit all the climb of you, you can get the front right here. Okay. And the commissioners, you're going to come around behind good, some of these there. Youngest there? Yeah. Okay, and the commission is you're going to come around behind. Good. You got the stairs? Yeah, we can definitely be on the stairs. Just want to make sure Katrina makes sure we see everybody. And then as a volunteer, you get the photo and I'm going to get the photo as well. Okay, I think that's pretty good. What do you think, Katrina? I'm feeling good. You feel like you got the answer? Okay, Katrina. Now, what people do already? Katrina, what the phone right here is, she's just count us off. I'm feeling good. I feel like the shots are... Yeah, I know, the parkour. Okay, Katrina. Now, what do people do, everybody? Katrina, what the phone right here is, she's all... She just count us off, we'll do a photo, to be a facial photo, and then we'll open it up to parents to take photos. Okay, is that it? So I'm really, really more looking to me. Okay, ready, count it off. Okay, one, two, three. Great. Okay, so we're answering any wells. Three. Great. Okay, so we're here today, well. Thank you, we're good. Okay, go ahead and let us know. I'm really glad. Thank you. Thank you. for any commissioner comments. Of course, yes, let's take it around the table. Anybody have anything they would like to share with the group? I think I'd just like to say thank you, right? It's an incredible dedication for all of you to spend your time and your energy to go and give back to the community in this way was something bright colorful and I can really inspire hope in folks who need it. So thank you all for your contributions. And I love this project for so many reasons, the fact that you all took time out of your day, like she said, to work on it, the creativity that went into it, the fact that you all had fun, and it's going to bring some joy to people who are having a really hard time. And I think that just means a lot to everybody. So you should all be very proud of your work. It turned out beautifully. Very good job, everybody. A wonderful project to have as part of the community. And we had a small tiny little part and it just kind of approving it. So I don't really feel like we deserve any credit at all. It's all you guys. Absolutely. Yeah, I definitely did all the heavy lifting. And I have to admit I got a little teary a little theory I'd watching the video so it was really reflective of the process that was brought to life in the video and so that's what I was really appreciative of and so it's about I appreciate the appreciation but we appreciate you and to all the students all the amazing talent and just giving your time and giving back to the community and it. And it's very much aligns with the goals that we have and as a public art commission to just beautify the city and do so with the community. So thank you all for doing that. And please keep coming back to us with ideas. We'd love to stay in touch and do more with you. Yeah, this is what we're all about. The Public Art Commission. We. My heart is full too. We really want to make the make our community better. And, you know, our parks and recreation department has a motto and you may have seen it around. This is parks make life better. And we've adopted that for our art commission that says art makes life better. And this is definitely an example of where your artwork will make a difference to somebody every single day. You've, you've made, given them a home that is beautiful and inspiring and is full of joy. And I want to just thank you for your creativity and for your willingness to think outside yourself and to do something for someone else. And it really will make a difference. I'm really grateful. So I think this is one of our favorite projects that we've ever been involved in for this. Thank you so, so very much. Thank you. And thank you, Ken, for the video. That was wonderful. I hope that we can continue to share that. And just so for those of you who are in our audience today, we do record these meetings and they're posted on our website. So if you have students who weren't able to come today, direct them to that and they can Watch the presentation. Thank you. All right. So I think we're ready to move on to the rest of our meeting. Yes, Director Clinton. So you're welcome to stay if you would like to see how this works. If not, please feel free to head out to the rest of your day. What's that? All right. We'll take a quick two-minute recess and let you all head on out. Thank you so much for coming today. Thank you. I'm sorry. I'm sorry. I'm sorry. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to be here. I'm going to you, Scott. I'm always here. Okay, good. I thought we were just just everybody used to band and dust. Okay. Well, thank you so much to our partners at testing unified school districts and the the temporary shelter for that just beautiful project. I'm just so pleased that we could be part of it and very exciting. All right, so let's get on with our regular business today. I think we've suffice the public input portion of our agenda. Let's move on to our consent calendar, which of course includes the approval of last month's meeting minutes, gifted public art, which we didn't receive any of that, and then communication and correspondence. And if you notice there were a few flyers for some of the city events included in that portion of your packet. I'd like to motion to approve. Thank you. Second. All right. All in favor. All right. Thank you. All right. So for our regular business today, we want to talk about the art selection process. Director Clinton, would you like to begin this conversation? Sure. Thank you, Chairperson. Yes. So this item, as you know, the staff report, there's not a lot to the staff report because really this item is something that the commission requested as part of your deliberations or your discussion at the April meeting in regards to the selection of a sculpture piece for the Centennial Park project. And you've had the commissioners identified a desire to be able to discuss the artist selection process and requested to be on the agenda. So this really is just to give the commissioners an opportunity to sort of talk through some of the issues they identified at the April meeting as you heard from the heavens, but really from the phone lines. Alissa Rojas, who is not here in person, and is integral to this, was integral to that process with Centennial Park, and will continue to be, she's not able to be here today, but she's monitoring here and can weigh in if need be. But yeah, this is just an opportunity for the commission to discuss. And the couple of things that we did provide in the staff report or with the staff report is the section in the public art policy related to the selection for commission artwork section four so that the content of that portion alone, not the whole public art policy, but that section alone we included with the staff report. And then the other piece that we can factor in when we get to that point in terms of rating artists or rating submissions is the issue of what we can and can't do given the public meeting requirements. So, and specifically, anytime we do anything outside of the public meeting, outside of this meeting or a special meeting, it can only be an ad hoc committee of maximum of two people. So the- We do anything outside of the public meeting outside of this meeting or a special meeting It can only be an ad hoc committee of maximum of two people so the The process we went through last time wouldn't be able to do again It would only it wouldn't be able to be five Commissioners doing any judging any evaluation outside of the meeting it can only be an ad hoc situation So well factored that in when we get to that part part of the discussion, but really this is the pleasure of the commission to talk through and identify as it says in the recommendation, discuss, and potentially identify pertinent details of the artist selection process. The Public Art Commission would like to establish. So I'll back to you. Okay, well I know we had quite a robust discussion this. When we were talking about the Centennial Park sculpture, I wrote down a few notes from my own thoughts. But I'd love to hear what you guys have to say and suggestions about how we can make this better, more efficient, et cetera. So I want to give us a start. Yeah, you see I have notes here. Yes, I do. I see notes. So, I did a little reading on, I thought the scoring, I love that we did that, because it really did help us kind of narrow down the choices, but I felt like we didn't have enough categories. I think we all kind of agreed there weren't enough categories. So, I did a little reading and I found the website, the Project for public spaces. And they have sort of a recommendation on wage criteria you can follow to score art for how you choose it. And there were some that kind of stood out to me that I thought we could potentially consider adding to our scoring system, which is relevance of the art to the city as far as its values, culture and people, suitability of work for outdoor display and maintenance, does the art activate or enhance the public space, the appropriateness of scale, and I like this one, make the mundane, interesting, fun, playful, or inspiring. And then another site that I had looked at, also talked about having a score in there for body of work from the artist. So I'd love to kind of figure out how we can maybe make our scoring a little bit more, I don't want to say complicated, but have more factors to it. Because I do think some of the pieces that I would have loved to see in Centennial Park were not included because of the lack of the installation information, which had pretty heavy waiting. So that's just my two cents. Yeah, and I remember talking a little bit about its proximity to the playground area, and is it safe? Can it be climbed on? Can it be, you know, is the material appropriate for that? So that's some things we could take into account as well. Depending on what the space is that we're trying to do. I mean through the chair, I think, you know, to some degree, we don't need to reinvent the wheel just to bring in best practices of what other organizations are doing. I think that captures it. Because when each of us looked at the last RFP, it was, we had two categories, right? Somewhat binary. and it was subjective within the larger one. So I think those elements of evaluating is that appropriateness, space, durability, obviously depending on the site can really help us to be less subjective. and it was subjective within the larger one. So I think those elements of evaluating is that appropriateness, space, durability, obviously depending on the site can really help us to be less subjective in how we choose and more transparent. I think that those are great starting points. Very good. Yeah, I know most of us kind of used the scoring sheet, like you say, as a starting point, but also had to break down the categories in our own ways to To really be able to score things and end up with a ranking, right? Yeah Any comments over here? What do you think? You know my comments I'll kind of have to do more with the the process of kind of maybe getting to the commission as well So director Clantin youan, you mentioned, because I was thinking the ad hoc route or does there need to be perhaps some refinement in staff's evaluation before getting to the commission? Because if you're looking at the public art policy and reading it and, you know, as was stated in the RFP about what criteria to include. I mean, even down to three references, some of those more technical or administrative logistics, I felt that we didn't get a lot of that in some of our proposals. And so is there a process that's just more refined early on that those that don't make me those minimum right criteria don't even get to us because I think for us as a commission our focus is really on the criteria of the art itself and the placement of the art and more of the kind of aesthetic aspect of it that makes sense. That's kind of where my if there are any refinements that's where the focus would be on my end. So I'm kind of a pre-screening so that once an artwork gets to us it's already passed its initial test. So they've submitted the majority of the requirements and if they haven't just just let us know which those things are. Cause I think we would like to be able to review all of the artwork and have a little bit of flexibility in our in the aesthetics of the work. Does this appeal to us? Does this, you know, I don't wanna not, I don't wanna not review something because of a logistical mistake or an oversight on the artist's part. If it's an artwork that we all really like and think, oh wow, like, you know, so I don't wanna sacrifice the ability to review all of the work for, you know, on a technicality. Let's say that I think that's probably what I'm thinking about. I mean, through the chair, I agree with that in its spirit, but my question comes into the application, because what is the minimum threshold and how can staff evaluate that without being subjected to the artwork, right, kid? I mean, how can they say, oh, that installation plan is good versus that one's not good, right? I think it would need to be very specific, like, and to some degree, binary installation plan, yes or no, or we provide some instructions, reach out once to ask them for it, if not, or even maybe it's something a subcommittee can decide what to bring on that basics. But I think we can't leave it subjective. Staff, you think if it's good enough submission, I don't think that will fly. And that, yeah, and do the two. And that's not what I was recommending. Of course, just to clarify, because I, but I think the, you know, educational background check. I mean, there's obviously some criteria, three references, check, formal training check, you know, you are submitting a resume as part of the proposal. And so if there's kind of those, those steps that can be taken in advance, I do feel like, you know, we looked at all the proposals in those details. And we spent a lot of time evaluating them because it was a great, great process for us. And we wanted to give this, give all the artists, to give all the submissions the hard time and dedication, but if there could be some kind of a yes. I think that needs to be done in advance of it coming to us. Sure. And I bring up the burden on us to maybe be a little more stringent about that, not just of staff could choose, but also can help us improve the RFP, right? If we say we need an installation plan that meets this criteria, I think we might get something a little more robust than what we saw evaluating the last ones. It might make it easier to kind of make that delineation. Well, and through the chair, and not being familiar with the CAFE system, is there a way where you know how if you don't fill out a whole form, you can't hit submit, right? like if they don't upload resume, they don't upload installation instructions or whatever, then it just won't let them submit. So maybe that kind of does the sorting out for us. like if they don't upload, resume they don't upload, you know, installation instructions or whatever, then it just won't let them submit. So maybe that kind of does the sorting out for us. Yeah, require fields. Yeah. But I don't know if that's possible. Yeah, I don't need to. They are required fields, but that doesn't mean that they need to be complete. I mean, they can still upload a blank document. Okay. That's not really required then. Yeah. Optional required. We'll do the chair. We saw that somebody. It can be. a blank document. Okay. It's not really required then. Well through the chair we saw that somebody said it requires submission they just don't have to completely fill it out and it doesn't have to be to our standard. So I mean I think through there was one artist that submitted just a brochure sort of and like maybe that one could have been a lemme, because they didn't actually propose something for our project. Right? But again, that does get into the, are we being? Well, maybe we do a hybrid where the, or staff will sort through that and would put that one off the site and say, this one did not follow the directions at all. But then ad hoc committee comes in and goes oh wait we really like that one and we can have some flexibility. Maybe that's where the ad hoc would come in. I think number one we probably just need more time if we're going to go through these kinds of reviews so it would require a second meeting so maybe the first meeting is these are the artworks that were submitted to us. We can look at all of them, see if there's things that were interested in, and then identify which ones where we'd be interested in going to the next level. And if there are things missing, perhaps staff or an ad hoc committee could weed out and say we need more information on this one or more information on that one that way, you know, it might give us a chance. I mean, there were a few, like you say, that, I mean, this was a different project where we were asking for a completed work. We weren't asking for a commission for a mural like we usually do where we ask them for examples of their artwork and then say create something, you know, create created design for us. It was the opposite this time and some of them didn't do that They didn't submit an actual artwork for us to consider for this park So maybe maybe that's something where we just need a few more steps to this process and in order to do that We're gonna have to make sure that we extend our timeline to allow for this kind of chair. It's it's getting it's getting pretty complicated that I disagree we meet nine or ten times a year for us to spend twice as much time on something because somebody didn't follow the instructions I don't know if I agree with that I think in the spirit of the city It's our job to capture the best art and that's where it should be one review by us, but I do agree that maybe a subcommittee or someone could intervene to make sure that one opportunity we provide to it, or the one opportunity that we review something is done to the standard. I don't know what spreading that will necessarily solve that problem, right? Because if somebody really puts their heart, soul, and effort into it, and we disregard it for something that maybe we think could be if we follow it up with them. That's not capturing the spirit of why we do this, right? So I don't know if the entire commission is spending two meetings evaluated and it really can address that problem. Through the chair, if I could add, so for this particular process, I don't know, 12 artists, I think, are submission, something along that, low lines. That was a lot of work on part of the commission to evaluate those and I understand that. I think what the commission, what staff would look for the commission to be able to identify is there could be a project down the road where there are 40 submissions. And the pre-screening that Commissioner Pollywell mentions would need to be done somehow before it got to the commission, the wider commission or the full commission because for the full commission to go through all 40 is time prohibitive. Whether it's at one meeting or two meetings, or you know, one month in a row or two months in a row, then it's still, it's time, it's prohibitive. So the idea there would be that either the ad hoc, or the staff, it could be a couple of levels. The staff and our ad hoc narrow that down to finalists. And if that narrowing it down is based on aesthetics, that could be a couple levels. The staff and our ad hoc narrow that down to finalists. And if that narrowing it down is based on aesthetics, that's one. That's an ad hoc role, about staff's role, but ad hoc role. If we're talking the narrowing down process, but the prescreening process of this person didn't submit something. And for 12 to 15 artists, it could be done to where the hybrid process that Commissioner McMillan mentioned, that here's all the artists, so the commission sees all the artists, but these didn't quite meet the requirements of the RFP, and so the commission still sees them, but they're not being evaluated by the ad hoc or by the commission at the public meeting, the full commission at the public meeting. And that's possibility for that lower number, but the higher number, and the commission you know, to identify what's your sweet spot? I mean, is your normal, is your goal for in terms of the number you want to be able to see at the public meeting for all five commissioners, is it 10, is it eight? And in this case, and I also should clarify, this is really more than anything else in this sculpture, which the commission is gonna do more of moving forward, but these are for the most part, things that have, the pieces of art that have been created as opposed to murals, where murals will be created, and we have a pretty good process on it. We've come to a pretty good process based on trial and error and lessons learned. This is a, usually will be about a piece of art that has already been created. And the commission is either looking to rent it, essentially, like when we get to the rotating sculptures we'll do, or in this case, buy it. But in all those cases, this already exists. So the process could grow from here. I would guess it would, in terms of the number artists who would propose. And in which case, there would need to be some potentially multi-step process to narrow down and then what were giving the opportunity to the commission to do is I don't know and it doesn't have to be established at this meeting. We could agenda this for a future meeting as well. We can continue to discussion. But what the commission really would need to do based on your previous input is identify, you know, maybe work backwards from the end result is six cultures to be able to identify, to review for the commission in the meeting. Well then how do we, how does the commission get to that? Is it staff, we, the ones who don't meet the minimums of the RFP and then the ad hoc is the one who narrows it down to the six? Those are the kind of things and then and then if so, what are the criteria then that the ad hoc is using to narrow them down? So through the chair just to clarify, we can't all five do that scoring like we did the last time. Outside of the public meeting, no. So we would have to sit here and do all evaluation here in the public realm. But we weren't together. We were doing that on our own. I understand. It's like reading a agenda. I have consulted with the proper experts on this. And we have to do it via ad hoc. Or it has to be done at the meeting in public. And what's been being recorded and made available today. So, we're having a chance to occur here in the meeting and be verbalized, basically. Well, of course, we're shown on the screen. Could we have two ad hoc committees? Say we had 40 pieces submitted. Could we be an ad hoc and you be an ad hoc and we take 20 and you take the other 20 and then we sort through them and then bring the best to the knees. As out of Hawks didn't overlap and they did their things separate. Yeah. To the chair, what we've done for some of the murals is we get a preview of them to research and then I think we've come and we put our top three or four and only discuss those that kind of overlap. Would a process like that be allowed? Where we run through, so you're saying the staff would run through all 40? I mean, if staff is willing to evaluate binary, like didn't meet the criteria or not, which I think was the first discussion, if you felt comfortable doing that, awesome. But, and then we just each say, like, hey, here's my top three and only discuss, maybe those with two votes and up. Yeah, that would all be within the public meeting then. That would be acceptable. Yeah. So we're looking at those before we come to the meeting because we have the verbalizing our response to them. Correct. Yeah, we were scoring it with the means. You're not scoring anything. So they couldn't see what you scored it or I scored it. But in order to bring two or three preferences to the meeting, we would have to? We would send them with the packet, like we have with previous murals where the artists have any like the mural for Veterans Sports Park, we gave you examples of the muralists who responded favorably to their interest in the project. And that way you would those, the examples of the work of those artists. Not before you came to the meeting. I'm not seeing the real difference aside from the fact that we all had a sheet that we then turned into staff and that was a problem. I understand, but that's what we have. That was a problem. I think it's just a procedural nuance, but we might have come up with a way we'd be talented to be in compliance. Well, it sounds to me like we all do agree that a pre-screening of any artworks that are submitted, the existing artworks that are submitted for a project is a necessity. So if we get, you know, 40 submissions, a pre-screen should weed out a lot of a lot of people. And unfortunately, that may mean that we miss out on reviewing something that's valuable, but perhaps that's a learning experience. Well, then the next step would be, you know, depending on how many works that we had was would be to send those pre-screened works to an ad hoc, is that what you're saying? Establishing an ad hoc. Establishing an ad hoc, having to review them, and then determining the five or six that they felt like the commission should review. Is it? I don't know. I'm not sure that I. Well, I don't know. I don't know if I come with our top three and make a decision, as long as some have more than one vote to only discuss those, I think it accomplishes what an ad hoc committee would in theory do of bringing a manageable amount of discussion points to the meeting. And then we could score it against the five categories of Christy. I think it accomplishes what an ad hoc committee would in theory do of bringing a manageable amount of discussion points to the meeting. And then we could score it against the five categories of criteria if it's only a couple, right? And we could do that here. Yeah. But do you think that step maybe before we even screen to say, you know, met the minimum criteria or not, that step needs to be in addition, right? Because if somebody doesn't meet something to give one opportunity to submit that so it can be fairly evaluated. What if we went back to what we've done in the past have them scroll through the the 20 that fulfilled the pre-screening we pick our top three and then we score them like all in one in one meter's it. Because usually we get to, we get to a top three or a top five, just based on what we feel like would be the best for that project and for the city. We can get to that top five. If we have to score them in, while on site anyway, we might as well use that scoring as the next step and do it right here. I'm not sure an ad hoc is in this unnecessary thing unless we do have a very large number of works in our wanting to narrow it down to say like 10 or 15 something like that for the, but anyway that's that's what I would be leaning toward is you know a process where we we do get a good an easy score sheet for us to use here on-site and on-camera so that we can score those three or four works that we all feel like would be a good choice. And then see which one comes out on top based on the scoring, not based on any kind of arbitrary criteria that isn't spoken. I think this is a really good way for us to be transparent about it. Well through the chair, it seems like we haven't had this issue with murals. We've only had it with this latest project which was run kind of through the CAFE. But everybody usually in the murals sends in everything we need or ask for, correct? And so I wonder if it's something to do with the system and maybe the people that just sent in a brochure accidentally hit submit when they weren't really ready to do it. And to me, that's where staff could say something where there was obvious big holes in the submission. That is definitely like, OK, they didn't follow any the rules are out. And I don't have any need to see that. I'm just kind of wondering if we have this issue with the murals. And I don't know why we're having the issue with the sculptures and Through the chair like I think it's a I think we're we're also solving for problems that weren't necessarily problems, right? Because the incomplete submissions were one and then having limited categories to judge that was was two right so we can do some degree separate that out I think let's let's have a little more fun than choosing 40 Let's choose a hundred as the number because realistically staff to go through 100 and a score on demand is not, it's not a great use of the commission's time, right? We'll have so much fatigue by the way it gets through it with there's no way we could give everybody that way. I think what we need to do is get it down to a smaller sample which to use our categories. And to that maybe that first stage could be slightly more subjective and personal where that's where staff could give us a preview of the art. And we come with our top three or top five, or choose a number that makes sense, without having to do the scoring or the staff to go through all hundred slides, and then only choose to discuss the overlap. And in the meeting, go through the categories, only for those ones that fit that final round. Yeah, I think that's what she was saying. Yeah, I think that's the similar we've done with the murals, but it separates out that pre-screening. But I think we do have to solve for a completely non-subjective way. How do you get out those who don't meet the criteria? Well, and I think what fell to stuff with the sculptures is that we felt like installation instructions were important with a mural. Well, it's, you paint it, right? Like we know that, but that's where we're like, well, if we don't know how they would install it or whatever, we don't know the weight of it. And some people didn't even give us... were important with a mural, it's, you paint it, right? Like we know that, but that's where we're like, well, if we don't know how they would install it or whatever, we don't know the weight of it. And some people didn't even give us the size that did make it harder to even know what we were looking at. And I think that's what found us together as well. I think it was a difficult ask. Yeah. Well, we're asking about two different submission, submissions. When we submit or we ask for artists for this sculpture, we went through cafe. When we ask for artists for the murals, we typically use our public art database. So we'll send an email to them, asking them to resubmit for the next project. So it's very much more an informal process. Just submit previous artwork, reply to this email, versus asking them to submit a multi-step process, asking them from a submission deadline, asking them to submit through a website, asking them for all of that. So it's a very different process. We might not get the amount of artists if we had them all submit through cafe. We, through the chair, we have the luxury of having built up a database of artists, most of whom are mirror lists. So when we send out the call of who's interested, here's the details of the project, we have a fair amount of mirror lists that respond. We don't have a lot of sculpturists. We don't have a lot of artists who do sculptures in our database. So that's why we were, why we use the cafe to expand our reach. Okay, well through the chair maybe we do a RFQ for public sculptures or other things other than murals. And get it. we did for. And so we did for the muralists. And then I guess depending on the response, the commission can either decide, OK, that's a good group of sculptures. That's just that's how that be who we reach out to when we have a sculpture. Or if it's not a good response, there's going to have to go back to cafe or something. I feel like I did. We did try that at one point, an RQ for different artists who wanted to be added to our database. We probably tried that maybe two or three years ago. And so we have a couple of functional artists that are in our database, a couple of sculpturists who are in our database. Most of them are muralists that are in our database, but we did try for different forms of art, and we didn't get a huge response for anything other than muralists. So it's not as though we can't try again, but I don't know without a specific project, we don't get a lot of response for just to be added to the database. And through the chat, I typically would explore. I think like with the sculptures, it's kind of specific, right? Because our criteria has been, I think, in the immediate plan, is something that already exists. And that is that's where we need to know the exact details of what exists. The RFQ, it's just show us what you've done and you can flex. But you can't really flex things like size, weight, installation. So I don't think just, I mean, having a database of folks great, but I don't think there's a way around collecting the details that we need to evaluate if it's going to work on a site. Yeah, it would be a starting point. You'd have a group of artists. You say we like these artists that see if they want to do something, it's amid something. But and then if they do, then we take that piece they submit, and we go, okay, it doesn't fit into the criteria as far as the weight, and we'd out that way, I don't just an additional for projects that require an existing work. We would like to add an additional pre-screening by the city just to make sure that they fulfilled the requirements that we ask them for. So like Commissioner Golo said, we'll have to be very cautious and thoughtful about what our requirements are, what we're asking them for so that when they do or don't do it, we have to determine how much that matters Add a pre-screening element We'll we'll ask for the same kind of packet that we usually do that has all of the artworks that passed that pre-screening So in preparation for our meeting that month we can do do the same Individual process we do at home and look and see what our top three favorite and most preferred artworks are for this project and then during our meeting we would use the score sheet in order to select the person that we and the artwork that we would like to acquire. And revamp the scoring categories. Yeah, we're gonna have to spend a little time doing that. And I would think keep it to a man and a bull four or five categories. We don't need a million categories, right? And I think for the pre-screen, when we do the RFP is when we would say, okay, it can't be any bigger than this or, you know, this is the price. If, you know, because there were some people who submitted last time and that was way over price range too, right? That automatically out, right? Cause we can't be any bigger than this or this is the price. If, you know, because there were some people who submitted the last time that was way over our price range too, right? That automatically out, right? Because we can't afford to buy it with what we're proposing. I think if it's making it, like you said, binary, yes or no for the pre-screen. And then, you know, I mean, if we do get 100 submissions, So like, I would love for us to get 100 submissions I don't really would, but I also want to account for staff's time because that's a lot of work too. So if there is a case like that, perhaps we do form an ad hoc committee if needed to help staff go through the pre-screen. Perfect. I'd be willing to be that. Yeah. Yeah. All right. Do we have a motion? I think motion to approve what we just discussed as the process with the continuing conversation is what the new criteria would be. Through the Chair, can I make a suggestion? Yes, please. Just a suggestion. Does the commission want to appoint an ad hoc to Establish proposed criteria to bring back to the commission Yes Motion to form an ad hoc committee comprised of If decided now are we I think you have to decide that the two members. You do I would lead that if someone else would like to join. I could do that. Okay. Motion to have a chairperson, low-max and commissioner McMillan on the subcommittee to move forward. And before that motion is made, me I just ask a clarifying question. Does staff need any further direction at this time on what those sort of pre-screening categories are? I mean again, I'm looking right here at our we've been provided in our packet as well the public art policy. So it really is an alignment with this. It's this person submit a letter of interest artist resume. I mean that I just want to emphasize that those are the things that I was really I was really pushing of get that done as part of that. And I think depending the next project of the same nature will determine that will set up some of that because as we develop and this is a process we've been through, we've gone through the commission and staff. We have a we bring to the proposal or draft RFP to the commission for your review and discussion and then changes. And so that RFP will probably then that RFP would then drive the staff prescreening because that RFP and drafting that RFP with the commission's input, that would then establish those items that the commission is asking staff to do the pre screening on. And it can be as simple as did they did they did the artists submit a letter of interest. And if not, well then they're not in the list that comes to the commission. Did they provide an installation plan? Yes, then the commission sees them. No, then the commission does not. But through the chair, I think even within that we have to say installation plan containing these elements because I think we got a napkin drawing last time. Right. Right. And that's where I think the burden is on us to say, well, what does that actually go? And we're learning too. We don't range. I've never installed, I'm yet to install a mural. So I don't know. But I think that's where we should do a little research and figure out where it is black and white. That's a great point. Thank you very much, Commissioner. A go-low, yeah, how detailed we get in this RFP then is part of that discussion of establishing the RFP for that project. OK. Thank you. And that would provide us what we need for that prescreening. Okay. So to clarify, the motion was made to establish an ad hoc committee to create those prescreening requirements and also refine the scoring sheet. No. Well, just the prescreen. not the pre-screening requirements and also refine the scoring sheet? No, well, that's good. Or just the pre-screen. Not the pre-screen ladder. That's gonna depend on the chair. If it's RFP, but from staffs underneath the name. That would be part of the RFP. So when that next RFP came up, I'm not sure when it would be off the top of my head or what it would be for off the top of my head. I I think the ad hoc staff suggestion was that the ad hoc would establish the criteria. Scoring. The scoring criteria. Okay. Based on the city of Tusson Public Art Policy as well as any of their information like the information that Commissioner, sorry, Chair, Pro Tem, Bruner collected. Through the chair, who has to write down this motion today with Alyssa in the clouds? When we are recording it. I sort of have it partially written here. Motion for that. Well, we're saying that we want to create an ad hoc committee to establish the scoring criteria for projects that involve an existing artwork. Is that it? I think that might be it. For right now. Right. Do we want to go through the other steps we would take then? Do we need to state that out? We want to adjust our artist selection process to include pre-screening and on scoring in the meeting. Yeah. Does it need to be that specific? There's not as much of a deliverable for that part of it. Yeah. So I think we can just stick with creating it, creating an ad hoc committee to establish criteria. Yeah. Second. Second. All in favor. Meet the motion. I second. All right. Motion from Commissioner Golis seconded by Chair, Protambruiner and all in favor. Hi. Thank you so much. We made this complicated enough for you. Through the Chair, we, at this point, we will plan, we'll have a placeholder in the next meeting as agenda. We'll have it as a placeholder, which we'll get to later in the agenda in terms of when that next meeting will be. But we'll have it as a placeholder and then need to work with the ad hoc prior to the meeting to be able to put to the the staff report as well as the ad hoc recommendations Okay, so But at this point that that fell so it would be the Well, we'll get to win that next meeting will be but they're willing willing to be that pre-work between staff and the ad hoc. Thank you. All right. I'm gonna have to watch the tape, too. Yeah. No, we just did. Yes, exactly what we do. Exactly. Watch the tape. Or a game film. Is that it? Yeah, we're gone. Okay, thank you so much for such a great conversation. I think all of this is just intended to really make sure that we are doing right by our artists. Yeah. Okay. Let's talk about the Public Art Commission's strategic priorities, something that we do every single year. Glad to look at it and review and notice how many of these things that we have just continue to tick off of our list. Does anyone have any updates to the strategic goals for next year? Through the chair, what is the, we're buying us again the timeline for the redevelopment of the sculpture walk. That work that's going to be done. Is that in 26 or 27? The design work for that project is current budget year. It's actually sorry, well it's gonna transcend this budget because we're about to start a new budget July 1. But it's begun and it will continue into the new budget year. So then the construction theoretically would be the would be yes. Do you say 2026? Yes. So, okay, I'm just trying to determine if it makes sense for sculpture walk to be in our 2526 goals or not. I would, I would, I would, self with recommendation would be to keep there because in that design process, there may be something that we as staff have to bring back to the commission for a discussion. I don't, I don't know for sure. There could be a need, in fact, without giving to this, there could be the need to revisit the locations chosen. The five locations chosen in phase one, there could be a need to revisit that based on some other development going on in the general area. So I would ask you to- There's a timeline for phase two. Phase two of Tess and Legacy Park, that wood that is designed and construction would start late 25 into early 26 and that would be the, that would probably take place. Well, I might see. Probably enough. Phase two, we may have phase two, it's actually fairly likely, not that I think about it, Phase two would be done before the change is to Phase one. Okay. We start with Phase two instead. So it could be that the first public art, a rotating public art sculpture walk pieces would all be Phase two, the three that we have identified there. Phase two of the park, but Phase one of the sculpture walk. It gets, it can get a little complicated. I can't wait that too much, I love it. But yes, that is correct. That is what you just said was correct. Commissioner McFillham. So, so to clarify, we do need to keep that in the agenda. Okay. And in our strategic goals summary. And do the chair, the unit construction is one it is. I think we will, like there's a lot of pre-work we can do. We don't want to wait till construction is done. We want construction to finish and, you know, kind of the next day the art goes in type thing. Right. And I have a feeling it will take us a few months. Yeah. Any comments on the community collaboration section? I personally would like to just remove on the second bullet. I think we should just go straight for a partner with local nonprofits and community groups. In the past, we've had to identify potential partnership opportunities, but I think it's time to take a little more action which we've done. So I would just say partner with local nonprofits. Anyone else have any other changes there? Any thoughts or any objections to changing on the community collaboration section engage the community and the creation of at least one public art project? You know, we've kind of had our goal of one and that's great, but I don't want to limit us to just the one. It's a key component of our outreach and as we just saw today as well. So just think minor were changed there. So on the the goal line, Katrina engaged the community in the creation and she wants to add at least One public art project. I Will point out commissioners you've you've done that e to the last two years. I know between between the Frontier Park Mosaic mural and then this project on this year. So what's that? In Centennial too. Yeah. Oh, Centennial. That's right. Centennial is community engagement. Yeah. So you have actually done three. We'll count public input. Yes, definitely. All right. Number three is program expansion. Any any notes there? I'm not sure if this through the chair belongs here back in in bullet I think. I mean because bullet one we're talking about specific things murals. We've talked about trying to think the polite way to say is like cow trans. Like does that need to be its own bucket about like a different tier of a project. Maybe that's why you could go and program expansion. Like a diverse set of real estate that we choose to engage community projects on. That the second bullet though. Well gather information. Maybe it's more like engage now. I think it was intended under the third one which says consider alternative sites for artwork including roadways and transportation. I'm trying to make my comment for it. We can be more specific that. I mean, that's that could be a little bit more actionable if we are really pursuing, you know, more active. I think just capturing like new mediums or new, new like real estate as opposed to just city owned properties. And I think that. Mm-hmm. That's fine. Commission involvement. I was I was looking at this goal and I feel like again we've gone beyond elevating our profile and raising awareness to really being actively involved and the notes I wrote to myself were actively involved in city events to interact with city leaders and community members. That's really what we're doing. We're trying to gauge their interests and find out needs that could be answered with artwork. Again, this project we highlighted today was a good one on that. So I would maybe just consider adding. I think we do very well in the, uh, I wish we do. But yes, I agree that that would be good to kind of tweak that to say more about, you know, yeah, so developing those relationships with. Yeah, actively participate in city events in order to personally interact with city leaders and community members. What I. First bullet through the chair. Yeah, I would say, to me it's the goal. Okay. So actively participate in city events as a platform to interact with city leaders and community members. Through the platform. Through the platform. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. I'm going to go to the community. have that outreach that we've been doing more and more that we've been doing. in the broader umbrella so to speak. And just to have that outreach that we've been doing more lately, thanks to the IA Great Idea, is there somewhere that we actually wanted to propose that we add a priority to our strategic goals that's artist relations. So that, you know, I feel like we need to, we're so involved in the selecting of the artwork, we're not always able to be involved in the actual process. So I would say that I would like us as much as possible to be involved in the process, to greet artists while they're working. I would love to have volunteered and had a paintbrush at the shelter, but I didn't know that that was going on. So my goal for that for artists' relations would be, let's see, I wrote myself some notes that I can't read. Associate with selected artists to during the art making process and enhance their experience with the city of Tustin. Like to me that would involve things like maybe a meet and greet or some sort of, you know, some sort of involvement. I know the city, you know, meets them at the site and helps them with all of the materials. We don't, you know, we're not usually involved in that. And I don't want to promise our time. I know we're all really, really busy people. But through the chat, I agree. As we walked away saying, I wish I told them where to eat or gave them a gift basket or a shirt or something. So I think to outline that, I don't think we have to be too specific, but I agree. Just, yeah, I would like to be. The positive impression of the city. to be involved in the art making process in some way, even if it's just as a point person to greet and say, hello, thank you so much for accepting this project. And... in the in the art making process in some way even if it's just as a point person to greet and say hello thank you so much for accepting this project and to see it to see it come together that photo op that we had at the veteran sports park I thought was great an opportunity to thank them yes yeah that's a good way that was I think that should be a priority of ours is just to make sure that because we now have a number of artworks as evidenced in our community calendar. Have those artists gotten a calendar? Do they know that they're in the calendar? So some of those kinds of things where I think we could, I would like the opportunity to interact more with the artists that we select. I think one of things I liked most about the Centennial mural project was the chance to interact with the artist and with the community. So there's more opportunities for that. I think that that to me it would be a really good priority for us to have. I second that. All in favor. That's my that's my soapbox. I like that's good. Yeah. So definitely was one of the like you said highlights of of going to the park and having a photo op meeting the artist. We haven't really done that. I've only done that with one or two other artists because of timing and not knowing when things were happening and just being busy. But if we can make it a priority, it would be help us to hone in on and go, okay, car out time and be there for certain things. Through the chair. So this goal is great, I just want to be realistic. So staff's involvement in this would just be making sure the commission knows when an artist is on site. Yes. From that, anything else happening is on the commission. OK, because I just want to make sure we're not committing staff to more. The meet and greet was shared with me. I'll be honest with you. Because that's like setting up another event, which we don't really have the resources for. No, we mean all I mean is like you say. Make sure we know what the installation plan is, what that timeline looks like. And maybe we assign one commissioner to just be the point person for that project. And their responsibility is just to check in with the artist, just as a relationship building kind of a staff. Staff can notify all we notify all the commissioners and then the subject of the mission to decide who if you want to point one of you to be the point person. Yes, say they're going to be painting during this time if you're around, stop by, say hi. It doesn't have to be so formal. Yeah, I would like it to be a more be part of the regular order of the things that we do is just to make sure we're notified of opportunities. Thank you. Katrina, that's perfect. Yeah, and we have been, I mean, you guys staff is definitely told us, okay, the artist is going to be here and you know, going to be starting the painting. That's, but more, more formal announcement of that might be better, right? So just to, hey, tomorrow, that's what you're saying, right? I think through the, this is just formalizing emotion that's in place to some degree. But I think when it's one of our five bullet points, We as a commission will do a little better at developing this into something. And so that's why I think it's important it's on here. But I think when it's one of our five bullet points, we as a commission will do a little better at developing this into something. And so that's why I think it's important it's on here. But I think from the staff perspective, nothing more than what you've been doing, just maybe more regularly. I think it's on and off if we get notified of the artist. So we just make that a standard. Yeah, sometimes we get distracted by shiny things. What where happens? Well, we only can do what we do because of everything that happens behind the scenes. So please don't take this as in gratitude. It is just a desire to really have the same kind of relationships we have with our artists that we have in our community. Oh, yeah, I'm not making you promise anything else. I do think we should get into the practice of, you know, of thanking them at the end and doing, like you say, maybe put that with photo opportunities, maybe. Yeah, they share doing the words Smith this in our meeting? Yeah. If you're going to prove. I mean, is it close? Yeah. I think this staff we just want to make sure this is a brand new goal so we want to make sure it reflects what the commission wants to see The chair would remove like a meat and green I Think yeah, just I think this would be suffice. Yep, Okay. Anything else? Any? Oh, you know what the other thing I wanted to add. It was under the Commission involvement bullet and maybe it's. Not worth saying, but. We do collaborate a lot with with the city leaders and other commissioners on other city projects. Never mind. I already added it to the goal. We're good. We're good. Anything else anyone wants to add or make a motion? Motion to approve our updated strategic priorities. Second. All in favor. Hi. Thank you. We could just make ground bullets that would make my life happier. Thank you. Round bullets. Or could just. I'm sorry. I was a part of the motion, so we're going to leave it as dashes and not bullets. Oh, no. Oh, thank you. I speedy my view on it. I just needed to say it for my own. Thank you. Thank you. All right. The next item is the cancellation of the June 18th public art Commission meeting. This should be an easy, the easiest thing of the day. Well, why do they want to cancel? Let's talk about that directly. What's... Thank you, Chairperson. Yes, staff is recommending cancellation of the June 18th meeting, which would be the next commission meeting. For the primary reason, it's the Citizens Academy graduation. Is that particular day? So staff is pretty much expected to attend. And they don't directly conflict, but they overlap a little bit. And the Community Services Commission has canceled their June 18th meeting. But we would keep the July meeting so that, because then in August, the commission goes dark, but so there would be a meeting still in July, but we'd skip the June meeting. The other reason, honestly, is there other than the item identified today, which was related to the ad hoc and the scoring criteria, and then a discussion on the getting started on the next project, the next project. All both of those can be deferred to on July. And there's no other business other than those two items. to cancel the June 18th meeting. Second. All in favor? I know. Nice. Thank you. the June 18th meeting. Second. All in favor? I have. All right. We'll look forward to seeing everyone in July. Okay. Time for open forum reports. This is the time where we talk about creative place making, community collaboration, our fundraising strategy, the sculpture walk, a test in legacy park, and the creative signals program. Means that we've already touched on the sculpture walk, any other updates on the other items on the list. Up today. Okay, I do have a quick update on creative signals. Is that what you're doing? No, I have to. My update is on the sculpture walk. Okay, please. So the sculpture, I just for the commission's knowledge, that the sculpture walk was included in the staff's presentations, boards that were at the city did a recent outreach to the community for a test and legacy, for development and test and legacy, to get public feedback. This was held at the annex next to the R&S Sports Pack, Pack Park, the R&S Sports Park on May 13th, last Tuesday night, I think. And one of the Parks and of the parks and recreation departments display boards was a sculpture walk. So we had that out as a project that's coming up not only for phase one not to complicate this like we talked earlier but only for phase one of the legacy park but also phase two that it was included in both. So it's something that we are not just talking about here in the Public Art Commission, we are telling the community about it. And there were several people who were interested to hear about it, one of whom misunderstood that it's the Public Art Commission who actually creates the art. And it's very concerned that the Public Art Commission has worked all artists artists in creating work and so I had to explain to her well this is this is a group that that advises council on the selection of art not actually designs the art and then she's oh that's so much better thank you I mean we could we could there is one artist that does sculptures in and amongst this group but yes the you have you have two artists sculptures oh graphic graphic design anyway sorry yes we like grass so what you're saying is we shouldn't have changed our priorities to raise awareness we need to make sure we people understand what the commission does in the role and thank you staff for thank you for. Yes, for sure. In rooms we are not in. The first week of May, Director Clinton and Ms. Rojas and myself met with two representatives from the testing community foundation to talk about their Creative Signals project. We helped them to finalize the locations, talked about the vendors that are our options, and also went through a list of possible artists, and they're doing three locations, and they're going to reach out to those artists that they're interested in and hopefully get this project moving. So I just wanted to give you that update and big thanks to Alyssa Rojas for her work on that. She's really helping to move this along. So thank you Alyssa if you're still listening. I think what? What? I'm not sure what you said Alyssa. Oh, I said of course and artists are very grateful for. I'm teaching after them. I received a number of positive comments for our chart. Not letting them know that they had been. Did their information had been given to T.C.F. Yes. So just to clarify my statements, what we did is we created a list of about 10 artists and then Alyssa has reached out to them and said that Testing Community Foundation may be emailing you to ask for some, your interest or more information about this project. So you gave them a little bit of a heads up so that they know about that. Good artist relations. Yes. Yes. I see you did there. Yes. And as we've been talking about that with TCF, it just really made me wonder if in the fall, we could put creative signals back on our agenda and employ a similar kind of an approach to getting these kinds of things done. Because what we're trying to do is to connect TCF to artists. So if there are any, if we've been presented any artwork that we are interested in putting on a traffic signal box, it would be great if we could go to a business and say we have this great artist and this great artwork that we want to put on a traffic signal box. It would be great if we could go to a business and say, we have this great artist and this great artwork that we want to put on the traffic signal box outside of your building, would you want to support that? And so it wouldn't come out of our budget, but we would just give them just that next step, make it that much easier for them to just write a check. That's all they'd have to do is say, yeah, I love that artwork that we love to donate artwork to the city in this way. So it may be something where we just take another look at some of the past projects that we've done and say, yeah, this is one, you know, pick one, two or three that we want to add to our list of creative signals spots and do it that way. So something to consider for the fall, please. And if I may add, I think that's a great idea. But I think that we should possibly look at our brochure and then maybe just making adjustments to that as well. I all about streamlining that process and giving kind of them the push that they need to get started. But perhaps that also then gets reflected in whatever materials we're sending out as well. Yeah, I mean if the artists or the artwork is out there, these are like adopting a puppy, right? What the puppy's out there. I also wondered, we've talked in the past about our micro-galleries project. Is that something that we should be adding to our open forum reports? To the list, is that a topic we could or should add? I think staff's recommendation on that would be to potentially add it to the other thing that the commission, the whole Havana, and Agenda for the commission's meeting in July, is your priority list of projects and for 25, 26. And adding it to the priority list, I think, would be the better course of action at this point. We have had preliminary conversations with TUSD, specifically Isabel Gray, who was here earlier about this possibility. And so now that the locker-mural project is finished, you know leading into next school year this is something that will have continued discussions on so I think it's better suited at that as a identified in the commission is already identified it really as a priority it's something that the commission wants to see, so formalize that and put it on their priority list. Okay. Thank you. All right, without any further comments, let's move on to the director's report. Thank you chairperson. Oh, I have so much today. You can put up the screen, please. So it started last week and you were all there and made an appearance at the Mayors celebration, but also at the Sense at Market kicked off May 15th, the third Thursday of each month and started full of awesome as we knew it would be. Vanessa Osborne is now in charge of that event. It has transitioned from Maryland Beusha to Vanessa but she's doing a great job and we'll have four more of them we're excited for them these are all our summer events if you're following along on the Director's Report but tomorrow day is May 26th next Monday at 9 a.m. at Veterans Sports Park I know we have a couple of you that have RSE peed through the chair. It says 11. That's the wrong flyer. You know, I've heard that there was this flyer out there. It's 9 o'clock. I'm not sure why there's two different flyers. And that should not have been in there. That came up earlier today too for something else. It's 9 o'clock. Good. It's not AM. Before you know it, June 1st, Tessence Reef Orange Lake Hookoffs coming up as a commission as usual It's been invited invites have gone out and you're welcome to join us in the VIP tent and be a part of the event If we have the VIP tent right behind the stage at Peppertree Park But it's's a good time. Good time for all. Oh, it says full of chili. Yeah, everything we're doing. It's got full of something on every flyer we have. So yes, this event is full of chili. So hopefully see you out there. And then right after that, our concerts in the park start June 11th with the Neuromantics for you T fans. You can see the bands there at the bottom. All the different bands that we're having. We are bringing back Stone's soul, classic Motown. We haven't had them for a few years, but people love them. And then Tom Petty here, but you're not a one that I'm looking forward to. I would normally be looking forward to Sega Genocide as well, but I'm out of the office that week, so I'll miss that one, unfortunately, because I do love my 90s music. But that is, vacation takes priority for me, then coming to concert and listening to 90s music. That's on record. What's that? That is on record. I said it, that's why my wife will appreciate me. Test and talent show actually is two weeks. This is the youth talent show. A couple of you have been judges before. We've given you the year off. We have some different judges. You can see the sponsors. For all the events you see, we have all the sponsors. Our staff does a tremendous job gathering sponsorships from community businesses and organizations to help fund these events. So this Stephanie Finne is doing this event. I think we have a dozen artists of all the youth, but a lot of singers for the most part. This is at the Marketplace at the Community Center. Awesome. Join us if you're able. Bingo Knight. So if you recall this in the spring, we had to cancel our casino night because there were some issues with the rules of gambling and so we couldn't hold it. So instead what we are doing and we already had this in the in the plans where we want to do a we're starting a quarterly bingo night. Now you'll notice there's neon and lively. Now, there's bingo at the senior centers on Wednesdays. That can be a tense, highly competitive environment, which is not for the faint of heart. This, this is party bingo. This is fun bingo. This is where there'll be food and there will be drinks. This is not your grandma's bingo. So this is bingo. For all ages, grandpa's are included, grandpa's are included, but it's not going to be the tense, competitive, stressful bingo like we have on Wednesdays. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. It's got a short-term. it's 750. That's a good work team. It's oddly specific. Well, I'm in it. Commissioner, just yeah, just be there at 750, okay? Actually, you could be there at six because cocktail15. Actually, you could be there at $6, because cocktail hour. Something we're starting with, CC Torres, the senior center is putting this together. I think there's 100 tickets, 120 tickets available, and that's a firm max. I think we've already sold 70. It's looking good. I have a couple tickets reserved for me because I want to go to this. It's important to us that this is a fun bingo, party bingo. Whether we do the neon bingo theme every time or it could change. Time will tell in terms of a theme for the bingo nights moving forward. But the idea is it's quarterly, it is a fundraiser for the senior fund. That's the whole idea, that's the $35 ticket. There are payouts, so there will be payouts. You would win money if you won the Bingo. But it's not gambling. What's that? It's not gambling though. It's different, it's not gambling. You are full of questions tonight. We're gonna run out of money. I'll be quiet. We are just trying to play by the rules. And July 4th celebration. On all of all days, July 4th, full of freedom and fireworks, those guys, they're playing 90s, 2000s, days, top 40, Miles Garvin is in charge of this event. So if you have been to that event before, it's concert, followed by a firework show at 9 o'clock. We do a VIP parking section behind the stadium. Or in, yeah, behind the stadium or on the campus of Tussoonified School, or Tusses in High School. So the parking can be difficult for that event, but not for VIPs and you are all VIPs. So RSVP, if you want to attend, when we get that invitation out. And then movies at the park. Five dates. You can see them there from June 27 through August 1st, full of summer waves. You may note, pick up on the theme ocean beach is the theme for this year. Thus the full of summer waves. Oh, I moved on. Wait, hold on, continue to see this. That's our summer events. Now, onto the next item on the Director of Report Centennial Park reopening, especially for those residents of Tusson Meadows. We will be doing a grand reopening of Centennial Park with renovations on Monday, June 30th at 6 p.m. and we will, I don't know, we'll invitations go out next week for that. You will get invitations for this event. So this is a, we've done a few park openings. A lot of the commissioners came when we reopened Peppertree Park and then Pine Tree Park was more recently with the new mural that's there. So this one will have the mural by Carla Roke that was in place as well as it looks like we'll have the sculpture in place as well, which a TBD on the installation date, but that is in the process. Lissa has coordinated or has connected the artist Seth Johnson with the construction manager for the project. And they are finalizing when that installation will happen. Mr. Johnson is actually going to help with the installation, which is part of what was authorized by the commission. In terms of beyond his commission, there is also a budget for him to do the installation. So that's going to happen very soon. Are the artists invited to attend? Yes, the artists will be invited to attend, for sure. So yes, that's June 30th, but yes, they would be invited to, I don't know if they would go, but we'll invite both Carla and Mr. Johnson. Carla's close. I don't remember if Seth Johnson's from. I think Arizona, maybe Nevada. Not, I don't think he's close, but he may come. Alyssa, you're patching it out, so we're not sure what you're saying. No. We don't have a good connection for you, you, unless sorry, maybe text, because you're not on eye, then we can do an imitation of you and say what you said just now. So, Easter celebration icon, have this here, one, because we have the cool picture of the three of you, three of you commissioners there on the right. And, but thank you for being part of that event and supporting this as part of your priorities. Having that presence there is great, so thank you for that. Yeah. Nevada. Nevada, okay, so let's confirm that he's from Nevada. And the Centennial Park Public Art Sculpture, I just mentioned the progress on this. And the pad is in place. So the chair, that's a great picture of the thing we approved. Of which? Of the sculpture we approved. Yeah. We had him provide a better photo there, yeah. With the tabs on the bottom of it, that's how the piece will be bolted to the concrete pedestal. And he's going to direct bolt using those tabs in the bottom of the sculpture to the concrete pad. So there won't be a metal plate between the sculpture and the concrete pad. It will be a direct bolt or direct connection. And let's see. Oh, and then the other public art. So we're on to public art updates. The damage to the Citrus Park, Merrill, Merlin Deputy Director of Viewsure has been in touch with Mike. Robert. Robert, thank you. Blankton is name. And he will, he's going to come out very soon. He's going to start, he's, he's, that middle section, he's actually going to make the, the column wider. Previously, the column was only so wide and there was some of the, the lemon, or the orange trees, lemon trees to the right of the column in the center. But he's going to make that column wider because being able to match the colors of this mural that's somewhat faded from 10 plus years of being in existence of direct sunlight. He thinks he can make that work to where it will be seamless where you won't even notice that it's someone damaged it. So he's in process, he's been out, take a look at it, and he's actively working towards repairing that. And he understands that the sooner the better, because the longer it sets damage, the more attempting it is for people to continue to damage it. So he is actively moving towards resolution of this. Through the chair, will that come to us for approval from the budget? No, that's so because this is more of a maintenance item, one, I believe, well, this will come from the Public Art Fund budget, but no, it will not come to the commission for approval. Maintenance items, the Public Art Fund allows, or Public Art Policy allows for maintenance of public art to just be able to be, not have to go through the approval process for the commission or council, as long as it's a maintenance, with it pushing this case, Haiti, where it's a repair, but still it's making sure it's brought back to where it was previous. But you'll notice now what the budget, what it hits. I can tell, yeah, I think it's rough, yes, we can follow up and let you know, roughly $4,000. And with the, I can tell you, I think it's rough, yes, we can follow up and let you know it's roughly $4,000. And with the, I can add as a sort of a side with the addition of this to repair this as well as to do a clear coat on the locker murals, antigraphy decote that the city is paying for. paying for, public art is paying for a majority of it. This year the public art is paying for the majority of it. This year the Public Art Commission expended 100% of your $40,000 that you have this year. So, which is good. You have nothing caring over till next year, but that means because if you really think about how many projects the Public Art Commission did, how many different projects were involved were done this year. It's pretty impressive, but in association with that, you've spent your funds that you had available. So especially with the repair and then with that Attica Fidi Code. And then from the operational, city's operational budget, we are supplementing that a little bit for that, the Atticaraphy decode because we felt that was important to have that done for the locker-mere. And then here's the latest at Centennial Park, is what it looks like. You can see the turtle that was saved. The green grass. Don't be concerned about any dry spots. If for you are who live in the neighborhood don't worry about the dry spots too much those the contractor will be held responsible for those but lower lower right footer you can see the some of the new landscaping and the upper left just or sorry in the center it's the green grass and the upper left that's those are the picnic tables that will be moved into the picnic area in a different configuration, a tighter configuration. And then you can see the mural in the background. And yeah, it's going to be nice when we reopen this one. And if you have good connections with your neighbors, do please encourage your neighbors to not sneak into the park to walk around. We have been experiencing a fair amount of that amongst the neighbors who really want to see the park and we want to get in there. And so yeah, we hear quite often how the fencing around is open and well it's open, not because we left it open, or the contact left open, but because residents have snuck in to walk around in there. I'll just say we have photos. And I think, oh, and then a couple others. Just a quick update. This one's still in process. Deputy Director Beucher is still working hard of this one. This is just a removing replace of the turf in Field 3. No really opportunity for art in this one. And that's it. And that's the last of the director's reports. Like I said, I told you I had a lot. I'm a liar now. Exciting. Full of updates. Full of updates. Full of much. Thank you. That concludes my directory report. Back to you, Chair. Thank you very much. All right, time for Commissioner comments. Let's start today with Chair Pro Tem Bruner. I this seemed like a light agenda meeting, but I it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a very good meeting. I think it was a Commissioner McNeillan. I'd like to echo Commissioner Pro-Towner-Bruner's comments about the participation by the young muralist today. That was nice. Nice to see what we do, getting appreciated by the community. And that's all I've got. Thanks, staff. As usual, do a great job putting up with us and my questions. Sure. Commissioner Gullo. Gratitude for all. I like it. Thank you. Go ahead. I was just gonna say the same. I know we had a really, I did seem like it was going to be a light agenda, but a lot of good discussion and again reflective of just think, you know, your work. So thank you so much for working with us on continuing to make amazing refinements to our public art program here in Tusted. All right. Thank you so much. I took some family and friends on a public art tour when they weren't down a couple weeks ago. A lot of fun. It's just really fun to share what we've been working on. And along the way, I did discover that there's a chunk of paint that's missing on the Peppertree Park mural. So you may want to just double check that. It's on the right hand side. So Peppertree Park mural? Peppertree Park mural just so that it's already for those summer concerts in the park. So a chunk of paint. Yeah. The wall is fine, but paint has been removed. Interesting. OK. We'll take a look. Thank you. Yeah, if you would send your minions out there. I also last week had the opportunity to represent us in the city at an event called leadership tomorrow which brings together business leaders who are interested in community involvement and Was on a panel of other commissioners from the city of Irvine, Costa Mesa and Newport Beach and we definitely have the most fun commission of the others. They were on planning commission and those other kind of formal boards. We're definitely the most fun and have the greatest projects. But it made me really pleased to be able to share some of the that that we're doing and to talk about the difference that we can make in people's lives. I loved seeing a full room today that was a real treat and I'm just really proud of Isabel Gray and all those students for sharing their talents with their community. I think that's a really great example. So all right if there's nothing else, yes please. share Mike Talber's chart of the fee is $2,850 for repair of the the damage mural at Citrus branch park okay 2850 right you have been officially notified commission Thank you answered yes all right. We'll see you in July. Thank you. We're adjourned.