Because I wasn't sure if the comment about that you like the inclusive part of that, because that's an option that's not here, but could be considered is that that one is it could be WAPO one color, it could be Chinese, another color, so that it's not all WAPO one qu one intersection, but it's actually a mixture of the cultures with also different colors.

So option not shown, but could be an option as well.

Does that make sense?

And I did understand it because I was not in these.

I just want to make yeah, I want to make sure maybe it was a combination of the two the two comments that I just want to clarify.

So right now option one is all the same.

Uh pattern pattern, different uh different color.

Okay, I just want to be sure I understood that.

So that's why I think it has unity as well as variety, which are two major concepts in visual design.

And every painter, no matter what painting your painting, has is working with variety and unity because you have to have both for to be successful.

If you go all the way towards one or all the way all the way towards the other, um, you know, it it it lacks an aesthetic quality and vibrancy to it.

So that's why I think option one does do that.

So yes, I did understand it was all Wappa.

Maybe it was clarifying for Julie, just to make sure.

I had a one question with it is um when you're putting uh a design into all four of those colors, does that design does that uh design actually from those countries use those colors?

They they're all do you know what I mean?

It's like if you're taking a Swiss design, do they do it in orange as well?

I always think of that as the blue.

Right.

So we did talk to Danielle, the artist about that because obviously these are based on textile patterns with cultural histories, and we wanted to honor that.

And um not always is the answer, but this is also you know, it's reinterpreted for Napa.

Um so the artist felt comfortable taking those liberties, if you will, with the colors, because especially if you're rotating through different colors, either having one bulbout that is um where the colors are inspired by the natural the traditional patterns, um, and then reinterpreting it in a Napa context in these colors is she she was okay with that.

She was good with it.

Yeah, I like I I mean, at first I was uh looking at one, but I I actually like three because I like those two colors together in that way where you get a little bit of variety, but you're still kind of in with some consistency and flow in there.

So I mean I would go I can see the benefit to either of those.

Yeah, because the colors like you said are somewhat in the same so you could still say, you know, this is the orange intersection to blue intersection or whatever.

I do like the idea.

Again, uh me, I like the idea of all Wapu, all Italian, all German, all whatever.

Uh but that's my I'm really not stuck to that anyway.

I uh yeah, every options are good here anyway.

Yeah.

So we're just gonna I'm a little bit stuck on having all the different cultures represented at each corner.

You know what I you know, I I don't know.

Some I didn't I guess I don't know.

But if they have to match uh the culture to its color, that's pretty important in my mind.

Yeah, yes, I understand.

Yeah, yeah.

I think part of my like idea that way too is you know, my family a lot of my family came from Brooklyn.

And Brooklyn did have all that stagn, you know, this is this, this is this, this and this.

And it was a negative thing to them, as it turned out, and so it took many years to over overcome that.

So I actually don't like the idea of all Germans in one corner, all WAPO in one place, whatever in another place.

I think that's the antithesis of inclusion.

So, um if I understand correctly, are you suggesting and like I'm maybe lost in the sauce here a little bit, but um with the three different options, like when it comes to like color scheme on each of the corners, um are you saying that color scheme and pattern, is it important to have those patterns evolve on each corner but retain a similar color, or are you I'm saying like the way I see it in the option one.

Um I'm looking at the option one, it has the pages.

It's the mul the multicolor at each corner.

It has multicolors, one pattern, but four Wappa is the one at the at that one street, but at the same time I'm looking at it from a painter's point of view, like an well, sculptures do it too, and printmakers or whatever is that um too much you have to have unity and you have to have variety, and you have to have both, and there's not a balance between unity and variety to me in the third one.

So I mean I'm not looking at it just because it's segmented.

I'm not looking at it just from the literary content, because as an artist, we're not just dealing with literary content, we're also do dealing with visual language, and and to me, the there's um unity in the project on all of them, but I mean in in one just that the same shapes are throughout is part of the unity.

Um just that we're representing different cultures, even if they're more than one at each corner, there's a unity in that.

And by having more um all the textures, then we're bringing in variety and the color changes, we're bringing in variety.

So I think it's a much more balanced project aesthetically from an aesthetic point of view, um, an artistic point of view.

With option one, I feel I feel like uh I do like it because it feels a little Mundarian-esque, so I tend I kind of like the idea, you know, of that of the uh that feeling.

Um so honestly, I'm I'm you know, I'm pretty open.

Um I do like the idea of uh or the same pattern in each corner or the same color, meaning pattern meaning German, WAPU, italian and so forth.

Italian?

Yeah.

Anyway, um, but I no, when you look at it option one, it there's something to it too, for sure.

I think it'd definitely be more vibrant.

I feel like it's more vibrant, and maybe more walkable in that regard, because when I was thinking about the structure of each intersection having a color scheme, in my mind, I was thinking as you're traversing in a car, it's going to be more progressive and you see these things kind of in sequence and it makes a lot of sense.

When you're walking and you see different textures and colors, I think it would definitely add vibrancy to the situation, you know.

I do too.

And and to me that's what the the goal was was to bring vibrancy and and art uh artistic visual language values to the community.

And so, can we get the the the option one but have the different cultures represented at each corner?

We could, but it doesn't I'm just making sure we want to have consensus about that because John's point is the unity of the pattern repeating was what John was appreciating.

So I just want to make sure that uh that's easy to create option four um with the the design direction of multiple colors and multiple patterns at each intersection, so every bulb out would be let's say the original designs, perhaps.

If you look at uh these six original designs, that those would be randomly repeated with all the intersections.

If that's the feedback you would like to provide, that definitely could be an option that could be explored.

I think it's beautiful that um versus what's presented here is option one is it's all the WAPO design, but multiple colors.

I like the idea of the kind of mixing of them.

I like option four, yeah.

Yeah, so and I I'm obviously I'm just giving the example of school, so then it would be the um, you know, each culture would be at e it in each intersections versus what you're suggesting, Julie is every intersection is a combination of all s you know, it'll be a picking four of the six for each intersection, and perhaps randomly um placing those versus her suggestion of um you know doing it the chronological order.

Right.

You have all six represented in yes, those so I like it.

I like the colors as they are, and just but just maybe keeping the patterns in relation to the cultures.

You know what I mean?

So not so you're not taking a different like taking the German inspired and trying to make it light blue, right?

So it's just is what it is, it's just mixing it up.

I don't know how do how do you all feel about that?

I like option four.

I like that.

Yeah, yeah.

Sorry.

They've worked they've worked so much on all this.

Back to the drawing.

Well, option four was one of their ideas.

So I think we're not married to any of them.

I mean, we we provided some feedback to Danielle.

This is what she presented.

She was more than generous with putting actually three options.

Um we only asked for two, so and then you know, of course, that sparks more debate and discussion, and so I think ultimately we're looking for the uh the best design going forward.

So I think it's you know a great recommendation that we can easily work with in yellow to update those.

Well, in terms of your action thing that you had originally asked for, I would like to uh make a motion to support one, you know, the first one on there supporting staff's recommendations for the design revision into a two-color, you know, stencil cut thing that you're talking about, and incorporating the SB 150 into the project.

So I would I make a motion that we approve that.

Would someone like to second?

I second.

Laura is like all those in favor?

Aye.

Okay.

I think we have been providing feedback on the proposed ball out.

Do I feel like we have a good direction?

I I think it really fits the artist's intention as well with the multicultural.

I I feel really good about option one with just maintaining the colors with the cultures they're representing, yeah.

At each corner.

That I love the layout that the color design and the way that you laid it.

It was very, very nice.

So I don't think you have to be switching around any of the colors or anything.

Just uh maintain the uh the textile fabric with what it was intended.

Well, why don't you make a motion for that?

Yeah, I'd like to make a motion to approve option four.

I second that.

All those in favor?

I think these are wonderful.

Yeah.

Oh, I know.

In the past we've had little ones.

So I'm just okay.

So uh the next uh action is supporting the staff to continue moving forward with the project, including including getting approval from city council to execute the agreement for the fabrication and installation of the artwork.

Someone would like to make a motion.

Oh, motion.

Second.

All those in favor?

Aye, aye.

And then supporting the recommendation of uh to allocate the additional 50,000 from the public art fund as a contingency for the project, and request of approval from city council.

I make a motion to approve that extra 50,000 contingency fee.

Second, all those in favor?

Aye.

Aye.

Okay.

I only want to add I can hardly wait for it to exist.

I know that was an amazing um presentation.

Thank you so much.

I know there was a lot of work that went into getting us to this point, bringing it back down to budget, and actually getting the project to where it can be completed is really exciting.

It was a hercule Herculanean amount of work, slides.

Thank you so much.

I hope with that statement I was making earlier, was yeah, also credit goes to Sarah.

She's done an amazing job.

Yeah.

Thank you, Sarah.

Okay.

Okay.

Uh moving now to 6B, please.

Whoops.

Going ahead.

All right.

Um I'll be presenting on item six B, uh, which is the proposed public art projects.

Um, so one of the core roles of the public art steering committee is to make annual recommendations to staff and city council on where to direct the public art funds for new projects in alignment with the public art master plan.

Here's an overview of the core values of our public art master plan.

So artistic excellence, diversity, design integration, and significance, and identifying locations like gateways and major intersections, parks and plazas, pedestrian paths and bikeways, public buildings and facilities, bridges, and roadways.

This is an overview of the artwork that's currently in our city.

So this is a combination of city-owned artwork that was created to satisfy the public art ordinance, items in the public registry that also were created for the public art ordinance, and then also private public art.

So included in that would be the rail arts district pieces, for example.

So as you can see, we have a ton of sculpture, a ton of murals, art benches, but overall not that much compared to other cities of our size, and we're looking forward to growing that.

We have some diversity, we have playable art, we have ground installation, we have some mosaics, and going back to the public art master plan, we've um we've really satisfied a lot of we've really done a good job of putting art in unique places across across the town in alignment with the public art master plan.

Um here are the locations of the public art, and the previous slide and this slide are part of our public art registry, which is available on our website.

Um and the yellow dots represent um the proposed locations for the sculptures that are are being relocated as a part of the first street project, by the way.

Um I want to also celebrate a recently completed project, and I'm gonna have us all watch the video that um our local videographer Chris Sitti has has made with Jacques.

Let's see if it.

Yeah, proximity, right?

I think that a gateway piece has sort of a two-fold mission.

One, it has to be welcoming and inviting to visitors and create a sense of arrival for those reaching town.

And so we're gonna go.

Sorry to sort of exit increase.

Let me know if I can.

Just stick with the computer volume.

Okay.

That's all we have.

Okay.

Alright, we'll start over.

All right.

Sorry about that.

Um I think what inspired me about downstream and the idea to use the river was for one, it's proximity, right?

I I think that a gateway piece has sort of a two-fold mission.

One, it has to be welcoming and inviting to visitors, and create a sense of arrival for those reaching town.

And Saw School Corridor was in need of that.

The other mission is that uh I think that it has to reflect the character of the town and provide some sense of history and identity.

I think that the river is kind of iconic in that respect.

It kind of lends itself to an abstract form when pitched in a vertical dimension, and the way it dies in and out of the ground plane really gives it this wonderful three dimensional quality that I was just really drawn towards.

Downstream is a reconceptualization of uh the Navajo River in a three format.

It's it's a very fitting metaphor.

It's always in a constant state of flux, much like downtown.

The materiality of the piece was something I spent a lot of time thinking about.

I like the idea of this material as something that oxidizes and patinas naturally over time, in the same way that the river um constantly is in a state of flux, so is the so is the materiality of the piece.

Um just a wonderful weathering material that only rusts and oxidizes and becomes more beautiful over time.

The fabrication of the art piece was very much a community effort.

I had so many friends and family and uh fellow artists, um of mentors and local vendors all contribute uh their expertise and know-how, and there's so many hands touch this piece.

Um I think that it's especially meaningful both uh to myself and I think want to be for the city of NAPA.

This was a challenging site, the RB and RP process was pretty specific about safety promoterists and producing an RPC that has small footprint with maximum visual impact, and that sort of lends itself to how do you create something that feels somewhat transparent from certain angles and then really reveals itself as you're driving by it.

A good amount of time was spent developing this concept so that the pattern created this shadow play throughout the day as the sun moved across the sky, it would cast light through the RPs and its shadows became visible on the pavement as you were passing by.

And so at night, with the addition of the LED lighting, um it cast light across the pattern, which gives it uh this ethereal feeling and um provides another layer of dimensionality to these.

I hope that this piece is um celebrated and enjoyed by locals um for years to come and also serves as a point of discovery for visitors to the Nepha Valley.

I feel privileged to be here and excited to have my first permanent public art piece in my hometown.

I'm Jacques Le Sac, and I'm the artist behind Downstream.

Me too.

I've also brought nothing but wonderful feedback from both this program.

Yeah, we're very proud and privileged to have Jacques work here.

Um it was installed a while ago, but we have that really beautiful video which we'll be promoting on our social media.

Um so I also wanted to give you an overview of all of our ongoing projects.

So there are four public art projects that have already been recommended by PASC and approved and adopted by the city council.

Um the total project budgets for these projects is currently 925,000, and these projects are at various stages in their development.

So we've got um Second Street Pavement Art, which is 275,000 plus an additional 50,000 as of just a few moments ago uh for the contingency fee.

Um Fuller Park, which is in the installation phase, and we're anticipating completion by May of this year.

That project budget was 500,000.

Uh we also have the Vine Trail Public Art Project, which we've allocated 75,000 to explore engineering drawings for that site.

Um and then finally the Tulaquet Creek Historic Bridge, which everything is to be determined on that.

We're waiting for Caltrans to start their project so that we have the actual material of the bridge.

Um, and then I wanted to remind you that you know we also have temporary projects like the Napa Lighted Art Festival, Napa Art Walk, community events like D Delos Muertos and Fourth of July and the Downtown Urals Program.

Uh these are some opportunity sites.

So thinking about the future, focusing on art and parks as an initiative that we've started and would like to continue.

Also projects that operate on a different scale, both in terms of timeline and budget.

So we're we've just wrapping up a number of projects that have taken many years to come to fruition.

Um and it would be nice to get projects done a little bit quicker with a smaller budget.

Um and then thinking about that also art that activates and celebrates the unique qualities of their various sites.

So I've listed here, you know, City Hall, Harvest Recreation Complex, Imola Corridor Medians, Roundabouts and Silverado Trail, and then City Parks and Amenities and then other possibilities, hoping that I'll hear from you all.

Um and then I've pointed out specifically here some of the parks that we've worked with are our parks um managers to identify as opportunity sites.

So we have Oxbow Preserve, Suntry Oaks, Westwood Hills, uh, the new harvest recreation complex, Kennedy Park, and Fuller Park.

And then I've separated some of the ideas that we've had into different buckets so that you can understand where the funding has come from.

So the capital improvement projects are projects where the art art budget would come from the project itself.

Um so this includes park amenities and um park amenities like restrooms, bike racks, seating, that kind of thing, roadway projects like the Amola Corridor medians and the Silver Auto Trail Roundabout.

And then the harvest recreation complex.

Miscellaneous projects.

So the relocation of the public art sculptures, we've talked about that before.

A public art master plan update, which, you know, the public art master plan was adopted in 2014.

These plans are typically good for about 10 years.

So we're due for an update.

And then also a new project that we've daylighted with a few other colleagues is the City Hall lobby.

We'll discuss that further later.

And then here are a few new project ideas that we'd love to receive feedback about.

So some kind of land art, both permanent and temporary, sculptures and parks, and then permanent lighted and sound art, as well as any other ideas you might bring to us.

I've rearranged them into timelines.

So short-term projects, we're thinking about the sculpture relocation, parks, amenities, city hall lobby, medium-term being the public art master plan, and then light and sound art, land art, sculpture and parks, and longer term projects, which are typically the capital improvement projects, as well as our temporary projects.

Expanding on the City Hall lobby proposal.

If you've been out there recently, which I know you have, coming into this meeting, we've had these cases that celebrate our sister cities out there for many years, and as a space that is commonly visited by both visitors and locals, we wanted to potentially use art as an opportunity to enhance this facility.

So make it a welcoming space that can also celebrate Napa's global connections in the form of sister cities.

So we would think of this as a sister cities commission that celebrates our four sister cities and then potentially also a Napa artist spotlight.

Parks amenities, we've discussed restroom murals, expanding our art bench collection and then expanding into different amenities, such as art bike racks, and then again thinking about this as an opportunity to celebrate the unique qualities of the park that it's at.

So all of these would be site specific.

Another park opportunity is park sculpture, and the two examples I've provided here are actually, you know, drawing attention to and supporting the ecological health of local wildlife.

So we have a bat tower and then a bird and insect sanctuary that also function as beautiful sculptures.

We've also had a proposal brought to us by Nimbus Arts.

This is their uh stone stacking project.

We don't have any further information on that right now, but just to keep it in your mind as an opportunity for a sculpture in the park.

Um, but Nimbus for Background runs mosaic workshops, and they've created this proposal for a stone-stacking sculpture that uh uses those mosaics that were created as part of their mental health um programming.

It would be interactive, is that what you're saying?

Um, kind of.

Sorry, I didn't mean to.

The stones that they're representing there would actually be out of like a hard foam material that would have the mosaics on it.

They had they're not finalized the design, but they had suggested maybe smaller rocks at the base that could be stacked.

Um, so not necessarily interactive, it potentially.

Um, we weren't sure if we wanted to encourage that or not.

Uh, depends on what they are, and would they just walk away and all that kind of stuff?

So I think the main concept that we were looking at is this piece, which um those are all uh solidified in those columns and would not be interactive.

Okay, we should see the this is a this is an early concept.

We have we've reached out to them and telling them about tonight's meeting.

We're hoping to hear more back from them, and so that we can present um as Sarah's presenting, these are the kind of early concepts, and then we'll come back with details about each uh project, and we hope to provide more details at the upcoming meetings once we hear a little bit more.

Were they working with Mentos Health on this one?

Yes.

Yes.

So they have a lot of mosaic and to your question about interactive.

I suppose the process that they're proposing of creating the large static rocks is interactive, but not maybe in the park context.

Um the next proposal is a little nebulous uh this idea of land art or earthworks I think is an idea that celebrates the uniquely beautiful natural resources that we have here in Napa.

They could be permanent they could be temporary part of the concept of land art is that it's ephemeral um and I think you know within um the region it would be a unique project particularly if it expands from both permanent and temporary artworks it would activate our park systems in in a new way and it would diversify our collection.

So I've provided a few examples here because it could be made out of you know the earth itself you know reclaimed logs or could be a structure that creates a land sculpture there are also you know temp long term temporary and long term permanent activations so things that work in harmony with the environment you know the Coachella Valley example is a cool process that's 3D printed Adobe um so the it is so broad uh because it is always so site specific but we thought it would be an interesting program to potentially start here that isn't really in this region so it could be a good um a good way to bring new visitors in and have locals think differently about art in our landscapes similarly we have uh of course one of the longest running light art festivals in the US and it it would be nice to have a permanent light art piece to add to the collection I've shown you two examples here um but of course they can look so different and it would be unique to our city and wherever the location is also sound art um Napa uh created um the loudspeaker and I think it'd be a unique opportunity to celebrate that history and add to uh what sound art and art is today and this would also diversify our collection.

Um so the committee action that we're requesting is that you provide feedback on the projects we've presented um support uh staff to go forward and continue to get project budget estimates and return to PASC with a more um solid recommendation um for the projects in the financial year 2027 2028 and then also of course bring some of your own ideas forward for us I'm um really excited about the idea of having the land art and sound art that would be just awesome.

And these are both I mean there's all those are longstanding art forms and even from the 40s and 50s so they're well established as being wonderful.

And I think having a lay uh lighted piece would be very complimentary and exciting and ongoing.

That would be wonderful.

Yeah I think all three of those art and the light would be my sound piece I think is really intriguing because it it's sure that you agree um there's so many different angles that you can go with that and then I was I I noted the land art as well because I just think we have such a beautiful terrain around us is what we're known for and you know I'm thinking about artists like Cristo and the work that they've done to kind of highlight just you can just do amazing things with the space that you're in so why not do it?

There used to be I don't know if it's at the new exploratory but at the old one somebody had built a a piece of wind sound art and it was a series of cables and things, but as the wind in San Francisco would come up, it would play.

And the sound would change over depending on the velocity of the wind and everything was really wonderful.

Yeah.

And so those are I liked the bird house sculpture too, but how would that be maintained?

I mean, 'cause that could be amazing.

Like up off Redwood, what what's the uh Alston Park?

Wouldn't something like that be amazing up on the top of Alston Park?

I think that's uh more of a concept, but I think what Sarah's suggested, which I love is rather than just more traditional sculptures in our parks, but perhaps ones that have other benefits.

So I think that's something we could explore a little bit more.

We have owl boxes already at Alston Park, but they're kind of your traditional um style that we work with various you know, nonprofits to help install, but I think that's something we could explore.

Um and that's what we'll use these next couple of months if there's direction to um hey I like this concept.

Let's explore this further that we can bring back both budgets and sites and kind of vet this a little bit further, even internally with you know, our our colleagues over in the parks department or in the parks division to ensure that we're thinking through everything before we make a final recommendation to you and to city council.

One first step for everybody if they haven't been is to go out to the Darosa and walk through the sculpture area, um, that's the outdoors one because it's full of sculptures like this.

And it's just it's beautiful.

There's also some great ones up at um oh geez, Hess collection.

They have some incredible goldsworthy pieces and things like that that I think they have a great goldsworthy out of the rosa one too.

Um I'm wondering about with Derosa being for sale, uh that collection, uh do we know where that collection is going and is uh is there an opportunity to possibly place maybe not a choir, but all like permanent collection placement for some of those pieces.

It's worth talking to them about because that's gonna disappear.

Yeah, it's worth talking to them.

They're gonna keep all the artwork they're not planning on selling it, they say, and I am thinking, well then where are you gonna put it?

They're just trying to get uh uh right now a partner that would get in and s lease uh sublice, whatever you want to call it, uh back to the uh art collection, the museum.

I think so far that's the plan as I understand.

It just seems to have so many directions to it, but well I'm just wondering if it's meanable if it's an opportunity to permanent loan for something like uh the one by the one that's nature and it's uh have you have you been there?

It's these big giant wire sculptures, and what happens is they just collect wood falls, and um, so it's very kind of a really cool conceptual piece.

They do have a Ned Con piece.

We could have had one, but anyway, up on the hill that uh changes all the time.

It's like wonderful.

But um, there's so many things that could be done with both sound and and the land art.

We can reach out to them and see what they're I'm just curious if that might be they m they might appreciate even a small handful of those sculptures finding permanent homes, and if it's already created and there's history and it's connected to De Rosa, we might be able to sort of spread the love, uh, which is I know not quite the same as having a beautiful sculpture garden, but it would preserve the you know preserve it in the town, or I don't know how what they're gonna do with all they have sixteen hundred pieces total out there uh in there between painting.

And a lot of them are in a warehouse.

Yeah.

It's in I was out there um a few months ago, um, and um there's one artist who they were celebrating, remembering me brought me into the celebration and within like I don't even know how they did it, but within about five minutes, the curator had brought out three of my pieces that they had in storage.

And I thought, wow, how did you get that out so fast?

You know, it was really it was really kind of flattering anyway, but but um they're I'm not sure what they're gonna do with it all either because storage is they're moving a lot of that operation in San Francisco.

If that was uh some of what are they gonna do?

It's um.

Um I was uh I was gonna go back to something a bit different, that's okay.

Uh the art benches.

I I I saw their they look to be, you know, the idea is probably to into to go into a park.

I would have to see the same concept that we have with the bulb out and the no, you don't call that bulb out the other ones, but um benches in every area of downtown and with uh one artist who designed them.

Because one thing that you know, since the days of the downtown specific plan on that there's always been the conversation about benches which you know when you have a city anywhere in Europe there's benches everywhere people can sit there's trees you're under the shade they probably have beautiful back rack, something fun something designed where you can put your bike and Napa for some reason is it's been uh thirty years or whatever and it's been some talk but it's that's never been done.

So since we're talking about doing art benches, I was thinking it would be kind of cool to use the same idea and say okay each artist gets get a specific uh spot in down in downtown to create something fun.

And it stick up for Napa I mean it's in even in New York I mean we don't believe in benches in the United States because we're afraid someone might sleep on 'em sleeping on it.

Yeah so you know we're harsh here.

I I would extend that beyond downtown as well because when you like there is a concentration of art and benches and things like that downtown but when you exceed like the downtown barrier it's like a a desert wasteland there's not any bench anywhere when you are going down the vine trail when you're walking through you know Redwood Road or anything like that.

There's no place.

It is one of the things though that we have advocated in the past is to have art outside of the downtown as well.

And like the map that Sarah showed there yeah there are beginnings of that but yes it has to be done much more holistically and I I know it's like a lot of terrain to cover because there's only a limited budget and so much that we can do.

But I think getting some satellites out there where we have public art and usable public art I think so too in like neighborhoods it's that would be an amazing thing.

Totally another crazy idea we've we've had lights above the buildings for a very very long time though most of them don't work in downtown.

But I always thought it's an opportunity that's been lost that you know you could really do something crazy.

We're talking about light show.

You read my mind yeah just connect them all.

Well what's the make a a complete light show around the the the tower you know depending where you are it comes to you and even we s uh whooshing sound or whatever sound that involved with it as well but it could be incredibly fun to to utilize what what's the name of the place in Las Vegas the that you walk under and it's all the lights above I mean I've been thinking about the planters downtown you know we can't maintain real plants that's so hard they die and you know the look of that and then the I know there was discussion like maybe doing some hanging art or sculpture but like maybe light might be the answer and it could come down and out and around and compass because I've going out into the neighborhoods people aren't gonna want that in their the light but like oh gosh what is the name of that place in Las Vegas the um you gotta stay at Las Vegas.

I mean I I I always have to pass through Las Vegas on my way home.

I I know that my even my son knows Las Vegas way better than I would prefer him to because we always have to stop over there.

Like you can do the zipline yeah yeah it's like a what a call experience but but my thought is with the light installation you know even if there's something hanging on there or connecting across the top of everyone and having it come down the quarter and all and connecting all the way to the canal and then all the way past Pearl Street and and then down towards the Oxpo, right?

So it could be I know it sounds crazy like two two million dollars.

But my thought is like the light thing that you mean.

Creating enhancing that experience.

Maybe it's not one installation, maybe it's something that is uh spread out over the tops of the one thing I do here and it's in uh tipping the hat to you really, but um as you're gonna get to know everybody's gonna find you don't know that everybody I don't know how they would know that we're on this, but I'll go places and they'll say start talking to me.

Um and every single year after the light lighted art festival, and this happens every year, people um say, Well, why don't you have keep those lights that are in the uh along the w river, the river walk part?

Specifically that part there's like jellyfish or whatever they were every year there's some s resplendent stuff and I get asked every year, like is if you know I'm pulling the money out or I could do it or or something, but um I I that is what my answer is.

Well those all it all costs money, but um the reflection, the water over the top of the bridge or something.

I don't know.

Out of the lighted art festival for Napa, that would be kind of a cool place to start.

Along the riverfront, is that you're saying?

Yeah.

Just to clarify your point, Julie.

Are you saying and maybe Garrett too?

Are you suggesting using the light posts as the locations?

Are you saying I meant something different, but it it it's all it's all good.

I just meant that right now there's been linear lights all the way at the top of every building everywhere in downtown.

It's been there for like Christmas lights basically.

Right.

Okay.

We conceptualize this idea and and m you know, make it s really interesting.

And now it's uh you're doing you're using what you already have and you're just you know, have artists rethink it and see if you could uh really uh make the whole downtown the i I don't want to make it look Christmas yet, I just wanna make it really like interesting.

I was in Yauntville yesterday and they still have the white lights up along all and it was really it didn't make you feel like Christmas, but boy was it charming.

The wrap around the trees, they still have it up and it's a distance, you know, like it's all the way up the whole thing.

That's a great look.

And it's a beautiful little way to kind of enhance and I think we could do something more artistic uh with what you're talking about and and enhancing the work that's been done with the Napa lighted art festival.

But I think there could be something there.

I was thinking the light posts maybe the hangers or connecting light across, or you know, to me the the lamps are they're just kind of lost in the downtown now with all the development and everything that goes on.

There's and a lot of them there's nothing hanging from them or they're not really doing anything.

And so we've there's a way we could utilize even the power that's there, like, you know, uh to do something different.

I wish I would have paid more attention on my last flight from Hawaii.

Um there was this thing that came on for a little bit.

It was about a city somewhere, so I'm apologize.

I wasn't thinking, oh, in a few months I'll need to know that um but there's a city somewhere where they have all these motion lights sit around.

So when people walk, they oops, they come on and then they go off and when other people they come on, and they're not security lights, they're they're an artistic installation in that city.

But I thought, wow, what a great idea great idea, you know.

Yeah.

I'm forgetting the term, but I I in Santa Fe, if you have ever been there, um, they have these I think they're called luminarias or something along the rooftops.

And it's so simple.

It's such a really simple thing, but it's so beautiful when you experience that, especially during the holidays.

But you could do it year round.

And something like that, like you're saying around like the horizontal lights that you see everywhere, like just spice it up a little bit.

And it doesn't have to be like Crazy Town.

It could just be anger change to that design.

There's no question downtown Napa or Napa is uh I mean, I think the whole uh light festival has has made an incredible impact.

So it's kind of cool to think of something that uh all year round someone could walk downtown and and see something inspiring with lights.

So um any other comments, concepts, ideas.

Because everything we talked about almost is sculptural light in the dirt, whatever, and you talked about the uh hallway here.

Um I'd like to see like more artwork that in an in like visual art genre that we could be putting like paintings, you know, that we could be putting up places in different installations and different buildings that you we'd own or something like that.

So, that'd be another way to bring art in that's not always outdoors um but it would be wonderful and I'm just so excited about you talked about moving those cases and putting them I've got this proposal I'm gonna share with you later that I've been thinking about for 10 years but I just thought that stuff's on there forever man.

So I think we were kind of leaning into priority earth the earthworks uh the sound art I really liked the idea of the murals on the bathrooms and the parks that makes such a difference um and that wouldn't be that wouldn't be super high budget either to get some of that done right to have some muralists come in uh to do that and then um the so the earthworks the sound art the lighted concepts there's just so many ways to go how would you even vote on such a thing.

No vote needed for tonight but it sounds like there's consensus to move forward with the projects that are listed on the short term list.

Obviously we've spoken about the sculptural relocations and so we're wanting to invest in that and make those really nice locations and so that one will be bringing back but park amenities city hall I just want to make sure there's nothing on the list that um we need to remove or anything it sounds like there's support for all these concepts and you provide some ideas that we can kind of research a little bit more as far as expanded but um just making sure that the ones that we're heading towards now is you guys have support for moving forward with sounds like it's the Silverado Trail roundabout that was the only thing up there I didn't recognize um third street Coombs it's those are that's that in the final stop.

Yeah Coomsville sorry is that actually happening it is it's under design right now.

So we'll be they're gonna be like two round up roundabouts right the inner the here's the conceptual design right here um as you all know one of the uh goals that we've been really pushing towards is working very closely with our public works department and ensuring that we're um planning in advance with them for public art so that um as they're making the designs and plans that we can incorporate public art with that so um we'll be providing we can provide more information about that at a at a future project.

The Mola corridors actually is more uh of an upgrade it's it's a continuation of the Soft School medians that there's uh some funding for upgrading those mediums and I think it's a great opportunity site to really beautify that corridor corridor as you know it's also a gateway into our community as well so um so we'll bring back more information about all those exciting projects and and I'm glad to hear you're saying about the public works thing because that's we've all talked about for many many years about them involving us earlier in the project and not just we plug something in at the end of it kind of a thing.

Do we need a motion I think we needed a motion here um just moving to um recommend that they move forward and approve each of the actions which is uh supporting these recommendations one question before we did uh if we say we are approving them moving forward on these are these things they're gonna just start doing without consultation with us and then so it's not a motion for tonight it's just to provide feedback on the list and then we're doing this early this year because we are we kind of have a robust list here.

So we want to bring back these probably several times before we make a final motion of what you guys are recommending to city council for the June budget period.

So um that's why I want to get ahead of it get some more research going um and provide more complete budgets and location recommendations at these uh upcoming meetings in March and April and May um so that we can make a big bang for the buck on terms of out into the community thing was like one of the smallest, probably inexpensive ones, and that is like what you brought up.

It's like murals on bathrooms here and there throughout the community.

It'd be wonderful, you know, like out of over by camp um playground fantastic or or Fuller Park or anywhere there's bathrooms and just a mural just it just changes the whole environment.

It's a good segue actually to our next topic, which we're super excited to talk about it.

So let's talk about the temporary public art projects that Sarah's been working on.

Yes.

So just a quick update on a few of our temporary projects.

The image here is from the most recent Napa Lighted Art Festival.

It's called Patterns by AVA Animation, which is on 2nd Street and has an interesting synergy with the Second Street Pavement Art.

Um so the lighted art festival just wrapped on February 15th.

Um the festival went from January 17th to February 15th, and here's a few images of the artworks, XOX by Dina Fisher.

Um Crossing Lines by uh Together We Glow, and then Padabolario Arts and Crafts in the bottom left, Anubis, um, and then the Roaming Gnomes by Amigo Namigo.

We had 15 installations and three projections, one of those 15 installations was 12 gnomes.

Uh, and we had a few add-on activities, including an artist meet and greet, uh story time, and then a family-friendly gnome hunt.

We saw about 75,000 unique visitors, which is up from 70,000 last year, and 36% of those were Napa residents, 64% of those were visitors.

14% of the visitors stayed in hotels, and people traveled from 2072 zip codes.

We also are very nearly done with our most recent temporary downtown mural.

So here's an overview.

Um Three Sisters by Matley Heard, which was at the Pearl Street Bus Depot is grayed out because it has been decommissioned.

Um, but if you've been by Kewanis Park any time recently, you'll see that we're almost done.

So as an overview, this is a process that we started last summer, and it was brought to us by a community member who really incredibly was able to fundraise $13,675 from the community, which uh was then the project was then supported also with the City General Fund for a total project budget of $32,500.

We um because of the community support and the community-oriented nature of the project, we wanted to do a slightly different selection process that involved a citywide survey and a community advisory committee that included some youth voices.

And so in that process, we selected, well, here's the site before.

Uh it's approximately 1,500 square feet of mural.

Um this is the artwork that was uh designed in collaboration with, I will say, the community advisory committee.

It's called Diamond Spirit by L Street Art, who grew up here in Napa and is now a world-renowned mural artist.

So Elle writes that Diamond Spirit celebrates Napa's vibrant character through depictions of young women in motion, swinging, sliding, and fielding beneath the summer hills, inspired by the strength of women in sport and the mural honors diversity, resilience, and the shared beauty of community and place.

Are these computer generated ones?

Uh that's on the walls right now, actually.

So it must have just what it I mean, I took the pictures with my phone.

Um, but the you might be thinking about the front, um, because the signage still hasn't been so the scoreboard area, that signage hasn't been installed yet, and then once that has been installed, then it'll seem more finished.

But yeah, these this is just the photos that I took with my phone.

So maybe I was a great photographer.

Um, but we're very excited about this and um we'll let you know if there's an opening ceremony for that.

And finally, I wanted to bring up.

We have two public art walking tours.

We did one on February 10th of this year, and that was of three of the downtown murals.

This is an image from that was really well attended, and Izzy Valencia, who's the artist um behind the uh the film strip on around the old post office, was there to talk about a few of the images.

That was really exciting.

And we have an upcoming public art walking tour on April 7th, where we'll be visiting circulation and weavers.

So please come to that if you're available.

I'll definitely send you an invitation for that.

I love it.

Is that gonna get to stay up or is that coming down or something?

Um Izzy's, I think it's say it's owned by the property owner.

So we worked with them to produce that uh piece to help beautify that spot until they um start development.

So it depends on whether it will last that long, or um it's really honestly their fence material now, but uh I think they really enjoy it and hope to keep it all up as long as possible or until they start development, which then it would probably come down.

And some of the developers have even, I know the one at um first and second or excuse me, first and main had mentioned that maybe they relocate that fence to another project um that they might have.

So a lot of them have really enjoyed this collaboration that we've started.

Yeah.

Okay.

Moving to 6D.

Yes, I get the exciting items here.

So uh we need to review and approve our meeting schedule for the year.

Um it follows in the staff report here.

It's every month on the fourth Tuesday of the month.

Um we typically have taken off uh July and December, but reevaluating kind of the schedule and where the meeting falls, we're actually recommending uh May 26, which is the day after Labor Day, and actually Sarah and I both have a conflict that day, so we'll be not available.

So we're recommending no meeting that day, and then um the 24th is just two days before Thanksgiving for a lot of people have that whole week off.

So we're making recommending um not having those days, but otherwise it would fall on the fourth Tuesday at 5 30 here at the chambers, and um, as you know, if there's no actual items or important items that we need to discuss um in you know that month, we will cancel the meetings, but we also sometimes schedule special meetings um when there's items, let's say something was urgent in the month of May.

We actually would probably convene a meeting earlier in the month.

So there's always that flexibility that we can also utilize.

So we just need a motion to approve the meeting schedule.

Can I make one comment before we do that?

Yes, so um, because I was one of the ones like he was in favor of if there's not an actual item.

But I think we've had too many meetings, but we're not here.

So I mean, we're like here half the year, maybe if that so I don't know.

I mean, I think we should meet and just that's just my own personal opinion, but I think with the volume of items that we're suggesting for the pipeline, we'll probably be meeting a lot more.

Um we were honestly f heavily focused on kind of the recent project and had to do a lot of items in order to get ready for that meeting.

So our meeting would have been there's no update until we get back to you.

So I I hear you, John though.

I think we will meet as as frequently as frequently as possible to keep honor the schedule this year, and um I think we have a lot of projects that we'll be needing your update and feedback on.

Wonderful.

Well, I make a motion that we accept the calendar.

I second all those in favor.

All right, and now we are on to 6E.

Nominating chair and vice chair for the PASC for 2026.

So this is another general business item under the bylaws of the public art steering committee and as well as other uh committees and commissions for the city.

We go through the process of electing a chair and vice chair for the upcoming year.

Well, I would like to nominate Julie if if she's so willing to do it again.

So I was gonna nominate the both of you, and you know, just staying where you are and be done with it.

But I'll let uh I think we have to do one at a time.

Yeah.

Oh, one at a time?

I think so.

Yeah, one at a time.

Okay, Julie.

Um, I also uh nominate Julie, you know, to be the chair.

I I'd like to recommend John or vice chair.

I second it.

All those in favor?

Aye.

Aye.

Thank you.

I'm honored.

Just a quick one.

It's gonna be exciting couple of years now.

Me too.

Next phase.

I see that uh, you know I'm expiring soon.

Uh how does it work?

I forgot I since I first time I will go through this.

Will you bring in a hundred dollars for each one of us for everybody?

I'll have Elijah follow up with you.

Usually Tiffany or her team at the City Clerk's office reaches out to you and see if you'd like to resubmit.

Okay, yeah, the clerk will reach out to you and they'll s just tell you whatever they need.

Okay, perfect.

You got it.

I appreciate all the work that you both do.

And that um how present in mind Katrina, you have everything even when the light festival's going on, so I don't know how you're doing all that, but um I've hired a whole team, it's been great.

It's but it's a team, you know, Pete too.

Great, yeah.

You guys are great.

I really appreciate it as well.

It's great to work with both of you and even since I've been on the committee and even since I've come to NAP, I've been here almost twelve years.

The trajectory for art in this town is on a path.

It's on a super positive path, and all the hard work that you all have been doing.

Uh we're let's just keep going.

And I thank you for that.

It's been really really exciting to be a part of such an incredible directive and trajectory, and I'm looking forward to continuing that.

Thank you, Julie.

Appreciate that.

I want to second that and also thank you for letting me join the team.

Oh, thanks for welcome aboard being here.

Thank you.

Any other comments and anyone have anything else?

Okay.

Meeting adjourned.

Thank you.

Great work.