Becky Wareing Steele

You Might Recognize:

I currently have a temporary public art project installed in Denver's Westwood neighborhood that will be on view through November 2024. The installation entitled "What does community mean to you?" (¿Qué significa para ti la comunidad?) was made in collaboration with students at Munroe Elementary School and was originally comprised of six pedestrian scale sculptures installed along Friendship Alley, up to the front entrance of Munroe Elementary School. There are three sculptures still on view that lead the way to the front entrance of the school. More information on this project can be found here: https://beckywareingsteele.com/friendship-alley-public-art

Public Art Average Success Rate:

I've applied to close to 40 public art RFQs over the years and have been shortlisted for three projects in total. At one point I had a 50% success rate as I was shortlisted for the second public art RFQ I ever responded to. Then there was a 5-year cycle of "We regret to inform you" before I was recently shortlisted for two projects in a 2-month time frame.

Rejected Project Proposal

Proposed Project Location:

Prickly Plume Park in Denver's Central Park Neighborhood

Concept:

The sensory nature of the park played a key role in the development of my concept. The design of the park focused inward using plants and berms to create a sanctuary space in an area surrounded by movement making the site an ideal location for a series of smaller works. I designed a series of seven interactive, exploratory stations that use visual and auditory mediums to engage the viewer in an experience that reflects on the surrounding environment.

Inspired by the park's unique triangular shape, each viewing station is comprised of an open-faced icosagon (20-sided polygon) structure created through the repetition of the triangular form. Each station would range in height to ensure accessibility for all.

As the viewer is drawn closer to the work the kaleidoscopic effect that occurs when an object is placed inside on the polycarbonate shelf would be revealed. Objects placed inside the open-faced icosagon would be multiplied by the mirrored interior creating a quiet moment of reflection. The exploratory stations also serve as a place for community engagement, allowing community members to build off each other's kaleidoscopic compositions through the addition of natural objects.

To create a truly inclusive sensory experience the sculptures incorporated an audio component as well. As the viewer approaches the exploratory station it would emit a low humming sound, drawing them closer to investigate. This sound would change in pitch as the individual gets closer to the work transforming the sculpture into an instrument (similar in nature to a theremin) that is responsive to the movement of the viewer's hand about the work, creating an auditory reflection. The introduction of sound encourages further interaction with the work while creating a unique experience for viewers without sight. The sound element would have a fixed and focused volume to cultivate a relaxing environment for everyone at the park and in the surrounding area.

"I Regret to Inform You..." Artist Response:

I was pretty disappointed at first as I put so many eggs into this basket and I wasn't sure if I'd ever be shortlisted again. The public art process at times can feel like a catch-22 in that many opportunities are only open to artists who have completed a public art project in the past and rarely had I come across calls that were focused on artists who had not yet completed a public art project. I also felt this self-imposed pressure at the age of 35 that I had to complete a public art project before I turned 40, which looking back on now feels like such unnecessary pressure to put on myself.

At the time I had also recently begun working part-time as a Project Coordinator at Public Art Services, working with artists all across the country on monumental public art projects. It was through this experience that I learned just how common rejection is in this field. Even celebrated artists in the field of public art get told no, it's all part of the process. For each opportunity there is a different selection panel with a different vision for artwork so this helped me to not feel so discouraged and to find different avenues to explore.

Three years after the initial "rejection" I decided to explore grant funding to assist in the creation of a temporary, community-based public art installation. I was successful in raising the funding and the resulting project is something I am very proud of and I learned so much through the process. With this project now under my belt I have been able to apply for more opportunities with a finished project in my portfolio and was recently shortlisted for two projects.