THE BELFAST HANDSHAKE

Above the divide

I suggest a sculpture that consists of a pillar and two metal sheets. This sculpture will look abstract but the empty space seen from a certain position will reveal either two men or two women shaking their hands.

I invite the citizens of the Suffolk and Lenadoon area and of Belfast to give their hands to complete the sculpture. Giving hands is an archaic gesture of welcome, of reconciliation but also business and promises were sealed this way. It is a question of honour to keep the promise. The giving of the hand will be the symbolic handprint into the soft clay of the middle column of the sculpture during the making process.

In doing so, we the people give our word to the future. All participants make a personal and unpublished pledge to themselves, thus creating an invisible manifesto.

Our promises do not stand for one but of many voices. They point to a shared future for Belfast people.

I want to alter the relationship between art and viewer. The individual is no longer just part of the public but is rather made part of the art. I anticipate the aesthetics of a democratic civil society in search of its cultural dimension.

A solid piece of sculpture occupies space. In this case I propose the opposite. Although the object is clearly figurative, I think it’s actually more about the location in that the figure is actually defined by what’s behind it. And what’s behind it changes. I want the viewer, symbolically to fill the empty space.

“Reality can be so complex that equally valid observations from differing perspectives can appear to be contradictory.”In an interactive way The Handshake can show that things are different than they seem to be, or can be different things simultaneously.

An empty space can become a presence that attracts the viewer; voids and physical presence of the positive space summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, inviting the viewer to the inner reaches of the imagination.

The location will become a space and basis for common cause and shared identity. The artwork and the process leading to and during its installation will celebrate place and territory that predates and belongs to all. It will support progress towards a peaceful, shared stable society & promoting community reconciliation. A symbol connected with all groups and deeply rooted in the place. We will leave the past where it belongs. The sculpture will have the potential to become a landmark that has a wider impact.

Artistic dimension: This sculpture occupies an area somewhere between visual reality and the visual experience that can help define our position in the world, both as observing and as physically participating in it.

Despite the sculpture's presence, one can sense that its meaning lies beyond its physical reality. The sculpture will be a unique piece of art based on transformation. One thing becomes another and in the end we just see empty space that will be filled with imagination. Also it will be an artistic challenge to build such an object.

Fabrication and installation methodology/ maintenance and durability

I will model the sculpture in original scale in clay. The figurative empty spaces will be life-size. In the next stage moulding forms will be build and cast in collaboration with a local company. As material I suggest a cast in bronze composite material. I will patinate the surface with liver of sulphur.

Also the structural design, connection with foundation, transports and erection will be undertaken in collaboration with this company. The finished sculpture will be transported and installed at the site with a mobile crane. Foundation and sculpture will be connected with metal anchors.

The sculpture will be located on a suitable foundation, designed after consultation with a professional engineer.

It is not possible to climb the sculpture. The project will need no maintenance and it will age with dignity. Size of the sculpture: In proportion to the space. 2.5 m x 2m x 2m

Community and stakeholder engagement

This project is based on community and stakeholder engagement. I invite the citizens of Suffolk and Lenadoon and people of Belfast to give their hands to complete the sculpture. The giving of the hand will be the symbolic handprint into the soft clay of the middle column of the sculpture during the making process.

I want to alter the relationship between art and viewer. The individual is no longer just part of the public but is rather made part of the art. I anticipate the aesthetics of a democratic civil society in search of its cultural dimension.

During the first month I will identify key stakeholders and communities and engage in discussions with them. I will widely advertise by leaflet, local press, e-mail, SMS, Facebook and via school newsletters. I will organize meetings, open Days in my studio and practical workshops for interested participants.We will identify issues and opportunities arising from my proposal, during previous organized meetings.I am also committed to ensure that communities are fully engaged in shaping developments as part of the design process. I will incorporate their ideas into the final plans. Stakeholders will be involved in the process to provide a joined-up approach.I have involved community into the making process in the past in several projects.

I will invite groups to join informative events about my proposal and suggest alternative motives and ask about opinions. I am also going to invite interested activists to practically participate in the making process. The experience of practical involvement and also the excitement, and pride, at having something new, and big, and perhaps very different, within the local area will lead to a feeling of ownership.

 

Breakdown of the costs for THE BELFAST HANDSHAKE Estimated cost schedule and cost management proposals.

Item + Time of Making Process Costs

Fee for producing artwork Fabrication costs

Basic materials – dependent on artform selected

Materials costs –

Preparation of surfaces/areas

production costs

labour/material costs involved in coating

Fabrication in factory

Casting and basic work costs

finishing materials

£ 18000,00

£ 1000,00

cutting and attaching of elements (estimation based on quotes by local companies )

works executed by other contractors

Plinth by contractor

foundation

Fabrication of plinth, Incl. foundation /Finished work - Mounting

£ 2300,00

Transports

installation costs

Mobile

crane rent

Wooden Packing construction

Inland transport and erection with hired crane

£ 200,00

£ 1000,00

Planning and preparation time

Engineering:

by BAS

Design fee, including any input required from a structural or civil engineer, or other designer, in respect of stability, anchoring, foundations, electrical or plumbing installations.

Statutory consents/ permissions

£1500,00

Community engagement element

(Advertising, recruiting)

Programme publicity, marketing

Venue Hire for community engagement

£35 per hour/£150 per day – community engagement

Meetings/communication/adverts Graphic designer/ internet maybe homepage 3 day

work

£400,00

£600,00

£500,00

Artist’s fees Making of plan designs, drawings, organization, negotiation, modeling, cutting £4500,00

welding casting, design and management/ Travel 25.7p/mile

No annual maintenance costs £30.000,00

DETAILED TIMETABLE

1st /2nd month research/production

3rdmonth 4-5thmonth production

6thmonth production/

delivery

Preparation finalization of design / static calculations (30 Days)

Permissions (up to 3 month)

Contact with relevant communities/Stakeholder events modelling /sculpture (events planned in the first 3 month, details see budget)

Finishing

Community project/reliefs

Fabrication of the sculpture and casting relief in factory

Fabrication in factory

Fabrication

In factory

final works

Erection of the object before 24th of May 2015

Opening and PR