A Public Art Jury comprised of arts professionals, community members and/or members of the project team will be established to select an artwork. As per the City’s Public Art Policy, the Jury will review all proposals, presentations, and public feedback and make a recommendation for which of the proposed artworks should be acquired for the Bond Simcoe Urban Square.

The submissions will be evaluated against the Selection Considerations as outlined in the Public Art Policy and the Guiding Principles as outlined in the Public Art Master Plan:

• Community relevance and impact (15 points)
• Overall quality and authenticity – originality of the design (10 points)
• Economic value (10 points)
• Installation, maintenance and conservation requirements (10 points)
• Submission (10 points)
• Location – responds to or complements the location's uses and users (15 points)
• Civic Pride – Public Art illustrates the history and diversity of the City (10 points)
• Quality of Art – Public Art that is acquired demonstrates a commitment to excellence and craftsmanship, creativity and innovation (10 points)
• Uniqueness – Public Art will reveal the unique character and foster a positive image of the City (10 points)

Submissions will be scored out of 100 possible points.

The budget for this project is $145,000.00 CAD (plus HST).

This is the total amount available for this public art project and all related expenses, including, but not limited to: artist fees, detailed renderings, materials, engineering, technical consultations and approvals or other expertise as required, fabrication, installation, insurance, equipment, a maintenance and conservation plan, an artist statement for the completed work and travel to meetings and to the site.

Public art funding is provided by the 100th Anniversary Project Budget and the Arts and Culture Reserve; the public art commission is managed by Economic & Development Services.

The artist team of Gary Barwin, Simon Frank, and Tor Lukasik-Foss came together out of a number of previous shared projects and collaborations between the three members.

With over a hundred years of combined experience working as award-winning visual artists, writers, and performers, the team brings together a dynamic and diverse skillset and an extensive history of public art experience. Their public works examine the intersection between history, community, ecology and placemaking, to express or tell the stories that interconnect members of a community, and engage people in the dialogue of their City and home. Barwin, Frank, Lukasik-Foss’ most recent major commission, entitled ‘Be:longings’, explores the themes of Human Rights, refugees, and finding and making a new home in Canada, as well as honouring the humanitarian legacy of Raoul Wallenberg.

Artwork Dimensions

9’ X 3’ X 30” ( L x W x H )

Technical Information

• The sculpture will be made with bronze and stainless steel. The topographic table tennis tabletop will be bronze and it will stand upon a set of four stainless steel legs.
• We intend to use a Ferrous Nitrate patina for the bronze, which will give the sculpture a natural, earthen appearance – with rich, brown and red tones.
• Bronze and Stainless steel are both materials historically proven to be safe, strong and durable for outdoor installation. All surfaces of the sculpture will be finished with protective coatings.

• The final location and orientation for the artwork will be determined after consideration of the various space parameters, and sightlines at the new Urban Square and in consultation with representatives from the City of Oshawa and any other project stakeholders.
• We envision Place at the Table will be situated at grade level in the Urban Square, at or adjacent to the site earmarked for the installation. If necessary, due to space considerations and/or constraints, we are not opposed to the artwork overhanging the concrete wall at the back of the Urban Square.
• The work can be activated by actual table tennis play.

Nicholas Crombach is an artist working in Kingston, ON. He is the recipient of numerous grants and awards including the Elizabeth Greenshields Foundation Award (2016). Crombach has presented solo exhibitions in Canada, London, and Berlin. His most recent solo exhibition, Landslip, was presented in 2023 at Art Mur Gallery in Montreal, the Woodstock Art Gallery in Woodstock, and in 2024 at the Karsh-Masson Gallery in Ottawa. Crombach’s public art commissions include Horse and Cart, Kingston, Ontario, Wind Vane, Woodstock, Ontario and Flock, Niagara Falls, Ontario. His work is represented in private and public collections including the Woodstock Art Gallery, the City of Kingston Civic Collection and the City of Ottawa Art Collection. From 2016-2017, Crombach participated in a year-long residency at The Florence Trust (London, UK) and was artist in residence at the Studios at MASS MoCA in North Adams, Massachusetts (2022). Crombach has received support from public agencies including the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council.

Artwork dimensions

12’ x 7’ x 10’ ( L x W x H ).

Fully rendered butterflies will have a 5 foot open wingspan.

Technical information

• The use of cor-ten and stainless steel ensures a long-lasting and ultra low-maintenance artwork.
• All edges will have a minimum radius of 1/16” to ensure there are no sharp edges.
• Wing shapes cut from 3/16” plate will ensure the wings are not able to be bent by human force.
• Cor-ten steel (sometimes called weathering steel or corrosion-resistant steel) is chemically formulated to develop a protective patina layer – rust-like in appearance – that eliminates the need for paint. The dense oxide patina layer of weathered steel seals it off from the atmosphere, preventing further corrosion. If a weathered steel panel is scratched, its patina will self-heal over time. Cor-ten steel is characterized by a warm, dark-brown, textured appearance. It requires low or no maintenance, making it a popular material for architectural and structural applications.
• Stainless steel is an iron-based alloy known for its resistance to rusting and corrosion. This is achieved through the addition of chromium, which forms a protective, self-healing oxide layer on the surface when exposed to air, eliminating the need for paint or other protective coatings. Stainless steel maintains its bright, silver appearance even in harsh outdoor environments.

• I am willing to adjust the sculpture design as needed as the overall arch shape is subjective, as monarchs do not swarm in a specific formation. This allows for flexibility to lower the sculpture’s profile or raise it for aesthetic or any other practical/safety reasons that arise. For example, see raised version below, where steel pipe could be manipulated to look like a branch in order to raise the work.
• Holes in the wings will be large enough to prevent fingers from getting stuck. If the holes in the wings are not permitted, the butterfly wing patterns can be created by layering corten and stainless steel only.
• Flowering plants that attract butterflies could be planted in the garden around the work to further add its conceptual focus.
• Upon award of the commission I am interested in exploring the potential to position a small cluster of butterflies outside the bordered garden area to allow physical public interaction and tactile engagement with the sculpture.

Brandon Vickerd is a Professor of Visual Arts (studio) in the School of the Arts, Media, Performance and Design (AMPD) at York University in Toronto, where he also serves as Chair of the Department of Visual Arts and Art History. His research and teaching focus is on sculpture with a particular focus on public art. Recent public art projects include Seeing Animals commissioned by the City of Surrey, BC (2024); Float commissioned by the Regional Municipality of Halifax, NS (2023); and A state of rest commissioned by the City of Ottawa (2023). Purposely diverse, his studio work straddles the line between high and low culture, acting as a catalyst for critical thought and addressing the failed promise of a modernist future predicated on boundless scientific advancement. Whether through craftsmanship, the creation of spectacle, or humor, the goal of his work is to provoke the viewer into questioning the dominate myth of progress ingrained in Western world views.

Artwork dimensions

Figure #1 will be approximately 185 cm tall, 61 cm wide, and 60 cm in length.

Figure #2 will be approximately 169 cm tall, 63 cm wide, and 60 cm in length.

Technical information

• Wild Oshawa will be fabricated in bronze utilizing the lost wax casting method.
• The final patina of the sculpture’s surface will be a dark brown with buffed bronze highlights. The patina will be Antique Brown, followed by a light buffing and several layers of Renaissance wax. This surface coating is extremely durable and ideally suited to the weather conditions of the Oshawa region.
• The choice of patinated bronze as a material ensures that the finished work is durable and resistant to the elements. The deep brown finish will convey welcoming warmth in both natural light and man-made light in the evenings.

• The final placement of Wild Oshawa will be determined through consultation with the landscape architect and the City of Oshawa. Ideally, the two artworks will be installed some distance apart, to create a dynamic sense of discovery as visitors traverse the square.
• The animals comprising Wild Oshawa will be native to the Oshawa area, such as squirrels, raccoons, owls, pheasants, mice, foxes, turtles, and more. The specific animals will be chosen by consulting community stakeholders and asking which animals they associate with the Oshawa region.
• Efforts will be made to keep the gender of the figures ambiguous in order to encourage engagement by all viewers. One figure will be adorned in casual business attire, such as non-descript slacks, casual shoes, and a light blazer. The clothing of the second figure will be dressed in casual sportswear.
• Wild Oshawa has been developed with consideration to providing a design that allows for tactile experience and direct viewer interaction.