And we have. It is 2 p.m. on Wednesday, October 8th, in the. Second floor, media room. Second floor media room at the
City Hall. Okay, I know where I'm going. I just don't know. Can I get a roll call? Yes. Miss Hickey here, miss Taylor
here, Mr. Rock here, chair. Robertello here. Okay. And now I would like to acknowledge guests that we have here today. Good to see everybody. Can I
get each of you to come up to the podium and just say your your name? And do we need anything more than the name and address? Usually. Right. Address. Name a position or
name and address. Okay. Jamie Taylor, public services assistant director. Thank you. Pastor Stanley Royle, senior
pastor, Macedonia Missionary Baptist church here in Tarpon Springs. Thank you. Holly
Langston, sustainability program coordinator. For 13 East Oak Street, Tarpon Springs.
Thank you. Okay. Okay, so first order of business is to approve the meeting minutes from July 9th, 2025. Do I have a motion?
I'll make a motion to approve the minutes from July 9th, 2025. Okay. Do you have a second?
Second roll call. Yes. Miss Taylor? Yes, chair. Yes. Okay,
now we move to old business. Current project updates. So the first update is the storm Drain mural program. Do we have. I
know we've got a lot of information in our packets here. Do we have anybody that wants to speak on it? Holly, do you want to give a update as to
where we're at in the project? Good afternoon. Thank you for having me here. To provide a little update and really just here to answer any questions. So just a quick review of what
has been done since the last time we were here and kind of initiated the discussion on this. I worked with our Public Works, Streets and Stormwater Department to identify some
potential locations. With Brandon's help, we took those to the city manager for approval. Also, Brandon was thoughtful and recommended that we run this through the city
attorney just to make sure that we were all good. As far as that goes. We checked any requirements for any permitting, anything of that nature. So as far as we are aware, at this time, we've been given all of
the proper approvals to proceed with the project. And so some of the materials that you see in your packet, the examples of call to artists, as well as a little sort of question and
answer, as well as the list of locations, came from a meeting that I had with streets and stormwater and our sustainability intern also was there, Christina Cole. So I
think just the biggest thing about what you all want to, you know, remember to include in the call to artists as far as what the the point of the program is from the streets and stormwater as well as
sustainability programing aspects, is to that the art must reflect the theme only rain down the drain. So that's kind of the big deal. And that's you'll see that in all
of the other programs for neighboring cities. And just that, the, you know, any plant and animal life would be native to this area, you know, Tampa Bay or to our river to the Gulf.
And so just kind of, yeah, thinking about how, you know, you want to qualify that and, and really it's it's pretty it's pretty open beyond that. So I would be happy to answer
any questions. Martha was kept in the loop kind of on the status of everything as we went through the, the, the steps over the last couple of months. So I'm trying to think of
anything else that we that's really it. I mean, I we didn't specify the number of locations that, you know, you all would want to start with, but we did.
There are 7 or 8 now approved locations. And the one thing that we were trying to keep in as, just like a fun thing within city staff, would be the
bottom one that you're seeing right now on the screen. It was kind of our idea with streets and stormwater to do this as like a staff location so that we could have a competition and kind of get like buy in from
within city staff. And there might be some budding artists that want to, you know, submit an idea. So that's just kind of something for your consideration. But we thought it might be interesting to get, you know, stormwater buy in and,
and use that as an opportunity to, to really educate staff on obviously, how important it is to take care of our, our waterways and our environment as well. So I think that's that's everything. Okay. I just
had a question just in general, and it's really out of curiosity, but how were these locations chosen? Were they chosen for, you know, distance
apart or so multiple things? I actually stormwater being that they are the they are the public works, you know, experts, you know, maintenance would be the number one thing as far as
what's an appropriate location traffic wise and for accessibility and things of that nature. Then on top of that we looked at, okay, what's the point of this art program is so people will see it and so
we can educate people, right? So we want them to be in locations that are pedestrian, have a decent pedestrian traffic level, right. So, you know, in public areas that get a lot of interaction, you know,
your crosswalks, that kind of thing. So that was kind of it was kind of like looking at obviously places in the city that people are walking all the time, places where there might be events, and then also kind
of trying to spread them out into different, you know, areas. So we were kind of starting from the center working out. And then you'll see further down we went ahead and kind of identified like a phase two
should in the future go into, you know, multiple rounds of of again, different call to artists in the future of kind of looking outside of more of the city center, maybe going into some of the more business
districts and outlying areas. But we kind of were like, okay, what's like a good number of locations that are representative of of the activities and where people, you know, kind of live, work
and spend their time and where will these be seen? So that's and then we, you know, we went Google Earth, really examined them, looked at the structures themselves, you know, just kind
of went through it and asked all the questions that an artist might have when they're there, you know, obviously interacting with it, trying to come up with the design and then obviously applying the design. So just kind of worked
through all of the potential, you know, questions, pitfalls, all of that. Yeah. Okay. That sounds good. Okay. I know in our original discussion we had talked about getting
neighborhoods involved. And so you're recommending that that's maybe a phase two after we do the pilot program and see how it goes. I think partly. And we would also have to be so one of
the other qualifying factors here is they're they can't be on streets that have speed limits over a certain amount. 35 I believe also it needs to be a street structure that's owned by the city. So certain
streets would be excluded because we don't want to get into county property and rights of way and things like that. So there are a few things that would have to be looked at as far as neighborhoods, if they
own those structures. In some cases that, you know, there may be different ownership that that exists. So that would be a consideration, I think, for future if that's. Yeah. Okay.
Sounds good. Anybody else have any ask you a question. Sure. I might have missed missed that point. But on the artist it is going to be one artist that
does all the drainages. That's not I think what our vision was that was that's I that's not really for me to decide. That really is for you all to decide. I think that other city I mean,
it's it's really up for you all to specify that. But I think it, you know, the number of locations to me personally, if I were deciding it, I would think it would be you would open it up and see how many
applications you got and that it would be multiple artists. But again, that's for you all to decide kind of how you want to work through it. The only city that I know of that does one artist for one area is
Saint Petersburg. And I think because it's such a big city, they did it that way to manage like one section of the city, having, you know, one artist do five or something, and then, you know, they would open it up
beyond that. But other cities, the way that Dunedin studied, the way that Safety Harbor, Clearwater, they just let people apply. And then that artist would do like one drain. So for what it's worth, for one
of them, I was thinking maybe this idea of having one geared toward children so we can maybe have something put in the schools for them to submit
artwork to. Child can submit their ideas to the school, and each school topping elementary union academy cops and kids. They can have a child. You all can. Absolutely. Just a thought.
However you want to open it up, I think to artists would be up to your discretion. Right. And and I noticed that on the examples that you sent for the different cities, many of them
said all artists have varying levels of, you know, experience. So I'm I'm on board with that as well. Katy, I think that's going to be and it's I think
that's going to come into play when we do the call to artists and where how we actually get that out to our teachers in the schools and stuff like that. And, you know, Girl Scout
troops and whoever else. So, okay, okay. Did you have anything else to add? Well, the
artist, I know a lot of artists in this area, and a lot of them don't live in Tarpon Springs, but they do have their art displayed in Tarpon Springs.
And I think it should be for people, artists that are in the area and not necessarily living in the city limits. Am I off
base in that thought? My thought is that. Much like the illuminated art boxes, my thought would be that we would
say preference. Preference is given to Tarpon Springs area artists, but it's open to everybody. So that way we don't limit the number of submissions
that we get because, you know, we want to kind of I would think we would want to balance variety with promoting local
arts as well. Okay, okay. All right. So Martha, what are the next steps that you can see.
What I see is to come up with a budget. And first of all we have to decide what materials are needed for each artist. I
googled on several areas, several stores trying to find the cost of metal pain. And guess what? They didn't have any prices on there, but one I
think it was Dunedin used paint that was $115 a gallon, which is that's a lot of money for. Well, if it's going to be out of doors, it would actually be designated by the stormwater
department, probably what type of streets it would be and what type of paint. Rather, it would have to be the type of paint that's used for street painting, essentially. So if you yes, if you do reference the other,
like you said, the Dunedin call to artists, I believe they specified what the materials are. We also have in the, I want to say City of Safety
Harbor, but they typically like would create a kit that the artist would then be able to check out, say, from the streets and Stormwater Department, or maybe from the sustainability department, depending if it's more than
it's in public works. They already use that type of paint, so it has to be that what they paint the curbs with, it's all the same materials, I guess, if you will, so that it does last
and is durable for the outdoors application as well as being on, you know, walkways and streets and some I mean, not on the street, but adjacent to where there's traffic. Yeah, I did
see in some of those there was they would give a stipend to the artist for the materials, but several of them had where the city provides the and you can check it out up to two
weeks. And so, you know, we would definitely need to decide which way we would go on that I say for something that specialized, leave it to the professionals if they, you know,
if the public works, knows the materials that work best for outdoor stuff like that, then I would I would defer to them.
But okay, so we need to budget. And how we're going to do the materials, whether it's artist
provided or or we provide kits. And then the wording of the call to artists. I think also once you have I think also once
you have a budget for the kit and how much you want to also supply the artist as a stipend and then decide on that total,
how many drains do you want to do? Yeah. Do you want to do three? Five? Based on the on the budget that we on the cost
of materials and and the stipend. Yes. So if it was like you're paying the artist $2,000 in the kit cost 1000, that's 3000. And if you did three drains, that would be $9,000.
That would be going out. Yeah. Okay. Looks like here in Saint Petersburg, the artist was paid 3300 for six storm drains. Total. Yeah, yeah, I think I
saw another one where it was 100 or. So. Maybe one of the next steps we could look at would be identifying which
primary locations we would want to start the project at, and then determining maybe rank them. Rank them. Yep. And then determining, you know, do we
want to move ahead with providing the kit and materials that are approved by stormwater and streets. And then beyond that it would be, you know, the
terms of the call to artists, right. What criteria? Like you said, do we want to give preference to Tarpon Springs artists? Do we want to reserve one of these locations for a
school or youth program and kind of outline those factors?
Okay. So yeah, school. Slash youth. Okay. So. I guess what
we need to do right now before we can discuss any of this stuff is make a motion to decide on this stuff. So do I
have a motion to discuss these various things? I make a motion that we discuss the various things that we need to discuss.
A second. Okay? Okay. Do we need a roll call? Miss Hickey? Yes, miss Taylor? Yes, chair?
Yes. Okay. So. Let's start with the easy one. The materials. My recommendation is to do the kits that are checked out from
public works because they're the experts. Does anybody have any other that's that would be my recommendation to because so many artists that I know are
used to painting on canvas. And you, they might have trouble finding the right paints and things like that. I think we need to supply the kits
personally. Okay. What about you? I agree with that. And
okay. All right. So kits from. Do we have any information outside of the. The information
from other cities about what the cost is? I don't know what how costs might have changed since then. And. Maybe we could
put the cost for the materials and stuff. Maybe you could check with Public Works as the liaison to get kind of a ballpark of what that cost is
going to be. Here in the cops from Dunedin says 1044 per kit. And I imagine one kit would be per mural. Yeah, I would think
so too. But yes, I can check with public works and get a cost estimate from them on what it would be for us. Okay, perfect. What would being a kit,
the kit would be probably things like paint brushes. Like the paints and materials that are appropriate for streets and
roadways. Yeah, I noticed that some of the example ones that we were given also included like stencils or something like that. I don't know how that
might fit in with our vision for what we're going to be doing, but it potentially could include something like that. I don't know what kind of
stencils they have available. I'm sure it's more like, stop, you know? But. Yeah, yeah. Just to give you an example, Safety Harbor, they offer optional. So
they let artists choose if they want to do a free, you know, design mural or if they would like to check out a stencil. They have a catfish, a trout, a bass, seahorse, dolphins, Manatee dumping here pollutes
our base. They have lettering, stencils, turtles and the stencil for the words only rain down the drain. And they also say they have a frog. So those are just examples. That's just
one you know. And obviously that is for you all to decide as far as if you want to even use that as an option, or if you just want to say these are, you know, murals to be free,
you know, design free hand and applied. But that's one specific list. Okay. Yeah. Okay. Does anybody have a preference on I kind of like the idea of
the artist doing their own designing. Then I'm an artist. I don't really know if the city even has any of those stencils, like you said, besides stop or,
you know, the generic words that would be used in traffic lettering. Yeah. What about you? Well, I'm all for for the freedom of art, the artists, you know, but the times we're
living in, do we have to get that art piece approved before? Oh, definitely. Yeah. And if we had stencils of something that we can direct them toward, then
we can think, you can use things that promote the city. Your art will promote the city because of its free range. Right person is thinking that way out of the box that we're
in, you know? Right. So just a thought, right. And, you know, I think there's also a happy medium where we can say, you're welcome to use stencils if you have them. We're not going to
provide them because that's just an added expense. And we don't know what they might want to use. Or we could, you know, by the same token, we're going
to invest in some stencils that are specific to what we would want to see, like dolphins, manatees, tarpons, you know, stuff like that, and invest in
them. I'm not sure, you know, if this is just the pilot program, maybe start with a smaller budget and say, you know, you're welcome to do free hand, or you can use stencils
if you want to, but you have to provide the stencils. Those are anybody. Think of any other options. Before we decide which
artist we select. They're going to be turning in a design. Absolutely. And so well I don't know maybe there is a need for
stencils and I'm just not seeing it. I'm sorry. Well I you know I can see for instance, if there's, you know, a Girl Scout troop and they want to
make a dolphin or manatee and they don't necessarily know exactly how to draw one, they might want to use a stencil. But I think kids are pretty
creative. So I, you know, I can go either way. I, I do. To your point, Katie, the call to action. I definitely want it to be very clear and and some of
the example calls that were given to us are are really, I think, excellent to follow by saying it has to stick with this theme and it has to
represent flora and fauna from the surrounding area. You know, we're not going to be doing Las Vegas style anything, you know,
so that would be that would be in the call. And, you know, if something is out of scope, then that's just one that we won't consider awarding the thing to.
So what we could do is leave it up to the artist. If the artist wants to do free hand and they turn in something. I know some pretty awesome artists. Or if
they want to do a stencil and they have it. So maybe we could just say either way, yeah, that would be that would be my preference. If they if they feel like they want to use one,
they can provide it. We're providing the paint and maybe the brushes. I think that's all that would be in the kit enough
to paint that area. Okay. So materials kits to include paint and brushes. And then in the call to artists we can put you
know that you can use your own stencils if you want to. Yeah. Optional. And since we're on call to action stuff anyway I
think I liked the the example ones that it said it's open to all levels of skill as long as it's sticking by the theme and it's a approved artwork, then
you don't have to be a known artist. That will also facilitate us being able to send it out to schools and youth groups and stuff like
that. That sound good. Sounds good. Okay, so all skill levels. And so. I think ranking the
locations might take a little bit more time for me to go through and take a look at them and really understand where they are. Perhaps during the
course of between now and the next meeting, we could all take a look at them and then just rank 1234567, eight, nine, however, you know, and then we'll put those together and do
kind of a ranked choice kind of thing for the next meeting. That sound good? Okay, I already do. I've already been to the location. Aren't you an
overachiever? And I learned a lot. I learned what a baffle box is. I'd never heard of it. I was like, really cool. You're gonna have to teach me that one.
Okay, so that's going to be next meeting. And for that, we would send them all to you, Brandon. And then you would put them together and send them to us for then I'll send them to
you and we'll have them in the agenda for the next. Perfect. And rank the locations. We've all agreed. I think, that
leaving it open, at least keeping one or an X percent open for school slash youth groups is important. Okay, so
let's just for fun, say we have five. Do you think maybe one of five, two of nine, maybe two. Two. You got two elementary schools, you got camp, you got
cops and kids. So yeah, maybe two. Okay. So let's say two. Well, ostensibly two, we'll see how many we can fit into the budget. And if, you know, if we
can only do four, then, you know, we might knock that down to one, but we'll, we'll cross that bridge when we get there. But ostensibly right now we'll shoot for two that are geared
towards school and youth organizations. And then you and then as far as the budget goes, then we'll once we get that information back from you, Brandon, on on what the
materials will cost for that particular amount of space, then we can discuss the budget next meeting. That sounds good.
Question. Yeah, the protective visibility gear. Will that be part of the kit? Yeah, that's a good question. Okay, good I
would think so. Okay. Yes. And I have another question. I've looked at most of the well I looked at all the first eight because I was really curious
about some of them. And some of them are in pretty high traffic areas. So I assume that will be blocked off somehow. Or I mean
coordinate that with streets department and see what they're they advise for any kind of stationing or, you know, protection beyond this year,
whether it's traffic cones or, you know, whatever their recommendation is. So when I check with them for pricing on the kit, the materials, I'll also ask them about what their
recommendations are for safety, just general safety of the site where the project's going to be. Yeah, because that could determine, you know, the parameters that we want to put in for how quickly it needs to
be done. Like we're not going to have this area blocked off for a week, you know, maybe one afternoon or two hours on two different days or something like that. Yeah. You could get
us their recommendations on that again. Trust the. Yeah. Thanks for pointing that out. Anything else that we need to
consider discuss. Kids gotta be kid friendly to. Be kid friendly. You got adult kids. You got kids. So you gotta have
kids. That is it from people. That's one thing. But if you have any kids. Yeah. And you know, that's also in the call to action. Definitely needs to point out that we need to have,
you know, adequate adult supervision. Yeah. For for the to school and youth groups. I think the materials are going to have to be the same. But,
you know, we can definitely maybe do some adjustments for the safety gear and and. And you know, safety set up and
stuff like that. Just because kids are good. Yeah. You know, I'm kind of thinking through the materials now and I'm not quite sure how the other cities
like Dunedin did it, but we don't know what colors and, you know, different designs will warrant. Yeah. As far as different kinds of paint, different colors. Well, I saw
one of them. It says it's limited to primary colors. Okay. I'm sorry. Like you could do white black and red I think because it's the street painting, the street specific paint, it is only available in
red, yellow, blue, white and black. But then of course they can mix. So that's yeah, I think that's just the standard. That's what Safety Harbor has I think Dunedin same. So that would probably be that's the
limitation is what it what's available I think honestly. So that makes sense. That makes sense. And with the all the primary colors you can mix whatever you need and make any other color you want with. Sure.
And you know, we could always offer some guidance to some kids. But you know, if we make that clear in the call to artists, say you can only use
colors that you know, you can mix from primary colors. And yeah, I think we'll have to really spell that out, saying these are the approved materials that will be in your
kit. There's these are the colors that will be available to you. Right. You know, and then if however they respond with their design, it's up to them at that point to have the
skill and ability to use those materials to fulfill right project. Right. Okay. So so you're going to check with them
on the materials. And Martha, can you work with Brandon on wording for the call to artists to incorporate these things that we've talked about? Sure.
The primary colors, the free hand or you can supply your own stencils. I guess we still need to look at what kind of stipend
we're going to do. But you could you could just put something in there as a, for instance, and we can discuss at the next meeting and, and get it nailed down. Does that sound
okay? That sounds good. I think most if I read this correctly, most of the stipend was between 100 and 500. Yeah, yeah, yeah.
And that sounds that sounds reasonable. We'll just have to see where the where the costs come in. And, and then we can set the budget from there. So if you can work with Brandon on
that and then we can. Fantastic. Okay. So do we want to. So we've done the motion. We've discussed all of it. Do we want
to do a motion for. Next steps or do we need to do that. Well this is what I got. Materials are going to be supply kits
checked out by public works with proper paint and materials. Brandon will check with public works on the cost of the kit and what is included. Paint, brushes, rollers and canvas for protection. Cleanup, reflective
traffic vests. Traffic cones. Order of preference for storm drain choice. Pack members will go out to research chosen drains. Members will send their rankings to Brandon before the
next meeting will be open to all skill levels. Number of drains will depend on the budget, for example, 5 to 4 will be reserved for school use, three for others. Primary
colors only free hand or provide your own stencils. Okay, and the theme is only rain down the drain. Only rain down the
drain. Love it. So we should get be able to get a pretty good call to action started, and then we can finalize it for the next meeting. So okay, do we need to do a motion saying
that or are we good. So the motion would be to move forward with the points that were just previously discussed, and to reconvene and discuss the updated information at the next meeting. Okay. Do I have a
motion to that effect? I'll make a motion to that effect. Do I have a second? Second? Okay. Roll call, Miss Hickey.
Yes, miss Taylor? Yes. Chair. Taylor? Yes. Okay. To proceed and present to the Board of
Commissioners. So is this at a place where we should present it? It will after the next one. Okay. So we're going to change. We're will plan on presenting it to the Board of Commissioners, the meeting
after our next one. And I know we're going to be discussing okay. And I'll just question Mark there. Okay. Any other
anything comments anything about this before we move on. No. Okay. Excellent. I want to thank everybody that put in all the legwork on this. Very good
information to have. It makes everything very easy to to move forward quickly. So thank you so much. Before we move on to the old business, I notice we
have a new guest. Would you like to step up to the podium and tell us your name and either your position or your address, please? Good afternoon.
My name is Ashton Stepner. I live at 450 Liam Avenue here in Tarpon Springs. I actually just moved here from North Carolina and so I'm actually getting a master's degree in public
relations. And I'm also a visual storyteller, a photographer. I love to showcase and uplift coastal environments, the natives and the locals who live there. So I
have a love for the environment and the people who live there, coastal, coastal towns. So I'm getting to know Tarpon Springs and it's a beautiful town. Okay, well, I'd love to hear more from you. At the end, we'll
have staff and visitor comments, and we can get into more about what you plan to do. Awesome. Thank you. Okay, next order of
Old business is an update on the Coach Rudy mural. The protective preservation options. I believe that's you. Okay,
okay. Alrighty. Come on down. Alrighty. So there's been a little bit of a staffing changes with the Speed Pro company that we've been working
with. So we've been dealing with a couple hurdles on on getting some answers, but they essentially offered two options for us. Well four options. But
I'm going to cut it down. Well I'll bring them all to you. There was a a replacement of the vinyl heat rolled like we did the first time around. And
there was also a vinyl applied to metal panels as another option. There both options. They did a suggestion of full
size, which I would recommend as well, or a mini mural which is 30% and it only shows the the gal throwing the ball and doesn't reference Coach Rudy or
anything like that. So I'm kind of saying we should stay away from those and if we're going to do it, go with the full mural that was originally designed with, you know,
everyone. Vinyl only full size mural is $2,500.43 and $43. It
was like pulling teeth to get plexiglass as an option there. They would not give us a an estimate for plexiglass. They said we will not. It doesn't
represent our company well. It's not going to be a good product. So internally pricing it out were around $2,000 or so to purchase those sheets.
Plexiglass sheets, they're four by eights. We would need to have multiple out there. There would be a seam. And as they were referencing, you know, it's not going to stop any
vandalism from it. Or, you know, it could still be vandalized and it will yellow and it will crack no matter what. So they they didn't even offer that as an option. But, you know,
bringing that to you guys as an internal option that we could take care of as city and with our building department, the vinyl applied to metal panels,
there's some benefits to utilizing that. One is a smooth surface, so you don't have the texture of the outside of the wall at the concession stand, which kind of has caused some
issues there. So smooth surface it would be multiple panels there. So there would be a vertical line, you know, between each panel, but nothing
that wouldn't look too bad. So you know that that's another option. They brought the. Final heat rolled on the wall itself.
They also mentioned, hey, you're going to need to put different paint on there. And that's something that we could take care of in-house that our building department already
mentioned there. So between the $2,500 for vinyl on the wall, the $2,000 for plexiglass, if that's desired, and then, you know, let's call it another 500
to 1000 for the paint. We're around $5,000 for for that replacement ballpark for the metal panels, full size mural costs. So the vinyl applied to
the metal panels, it's we're looking at $4,800. That would not require painting the wall, because those metal panels would be secured. With it being
secured to the wall. There would be on each corner of the metal panel, there would be a bolt that goes through there and into the wall. Just bring it up because they they mentioned it in there and it
would be part of it, but I don't think it would be taking away too much from it. Yeah. So they said, you know, adding
acrylic overlay was not only cost prohibitive but also not recommended by the panel. Yeah. So those are the options that
were brought to us from Speed Pro and, you know, leave it up to you guys to decide which direction you'd like to go with
it. Okay. So. I guess we need to discuss what which option we want to go with. Are you
interested in speaking to the project or not yet? No respect. So I figured we would have a motion to discuss the options,
and then we'll open it up for comments from anybody who has comments and recommendations. So do I have a motion to discuss the the different
options for protecting and preserving the mural? I'd like to make a motion that we open the discussion to further discussion on the options for
the maintenance of the mural Rudy Mural Project. I second, okay, so does anybody have your closest to it? Do you have any
recommendations of these different options or other options? Well, it's a it's from the last meeting. Of course, it was a it's about seven people that's working on this as a
panel. And when we met we did meet at the library. I met with them at the library. And we did discuss this with us. And as far as I can tell, I mean it me
because a couple of them are here. If they want to voice their opinion, they're welcome to. But with me, sound like the metal option is better because
it's less maintenance, is it? And the destruction of it if vandalism. And so it'll be a smooth surface, so it'll be a
cleaner look to the mural itself. You know, it's, it's it's not bulletproof. There's, there's going to be opportunity or, you know, potential for vandalism to it. But you know,
in my. Perspective or my, my view of it is, you know, it would look cleaner. And, you know, I can't speak to the
durability of it, though, to be honest. Is there anything about that particular treatment that would mitigate some of the inadvertent damage that we've seen? You know, bicycle handles,
scraping on it and stuff like that? Is it going to be more durable as far as that goes? Still be vinyl heated on and adhered to metal. There will still be the opportunity for
vandalism. Okay. With the absence of the texture on the wall. I mean, this is. Hypothesizing, you know, I, I
would imagine that the, the occurrences of maybe a bike handle rubbing against it, causing it to tear would probably be decreased. You know, again, I don't know for sure,
but I imagine with it being smooth and less things for to get caught on it, there would probably be less issues with it tearing due to something
rubbing against it or being dragged across it. Okay. Is there any kind of protective, you know, like, you know, like a bar or something that can go
level high where the bikes bike path is? Because I think if we put something across it that is not clear plexiglass, it's just going to block the, the mural itself. You know, I understand
what you're saying as far as you know. And my grandma's dining room, you know, there was borders on the wall so the chairs didn't scuff up the wall. And I think that's kind of the
what you're mentioning. But, you know, bicycle handlebars, all different heights. Children this tall to this tall it
without putting. Yeah. I don't I don't see that as like viable other than. All right. Well we could try plexiglass over the metal as well. That's an option. But it will yellow. It will
crack. It will, you know. But it's not going to peel. The paint's not going to peel like it is on that wall. Hopefully not. Yeah. Yeah. So it's if we
put different paint on the wall beforehand, if we were to just do the vinyl on the wall itself, we would repaint it with a better paint, give it 30 days
to Outgassed. So the vinyl would adhere better than it did the first go around, because there was a there's not that 30 day window when it was originally put up. Again, the
paint wasn't the suggested paint from Speed Pro. Being that his own metal. Do you have a picture of how it would look
because you said metal, is that brown, or can it be a white background or look just like it is now? So the metal would be completely covered by the vinyl,
so it would reflect exactly what we're seeing on the wall. Yeah. So I'm not really sure how wide that sidewalk is would
it. And this I'm just spitballing here, would it be an option to maybe put like a planter box or something there that would just kind of force
people to have a little bit more distance from it. Speed Pro did suggest putting bollards up to keep things away.
That sidewalk is not wide. I think if you put anything on there, anyone in wheelchair cannot get down that sidewalk anymore. Okay. And now with the
addition of the Bahamian heritage sculpture that's there, I think we're just causing more hassle. Yeah, yeah, I don't
think that's okay. Yeah, I wouldn't definitely wouldn't want to mess with the flow. You know? Pedestrian flow. So Jamie,
question for you on that sidewalk, will you have the Bahamian Sponger project. You have a walkway that's walking into it, walking into it. So just as you come off the
sidewalk, get onto the walk path, those side, those two little sandy areas right there, you can't you can't widen that sidewalk right there. I mean, anything can be done that that
would go back to our building, building staff and say, hey, you know, this is a thought process there. We're we're talking it's just money at that
point. Yeah. Well it's money and then it's also all right if we could widen the sidewalk. But what is the solution that
we're looking at and is that. Effective. Right. Vandalism. Right. I'd like to get just an
idea if that is something that's possible. It would. It seems like if it was just from there and then went to the Bahamian, that it would be like a placemaking thing, you know,
like it would be part of the whole thing. It looks like you're going to be pouring concrete anyway. Well, it's already poured. It's already everything is already completed.
Over over there. Okay. Okay. Do you have space there? Do you have space for that sidewalk? My question is, let's say the
whole grassy area is concrete paved over. What is the suggestion for stopping vandalism? Right. We talked about the bumping against the
wall. So she like she was saying if they had something that was sitting right there, plants in front of it, you have a little more walking room over here. So just putting plants right in front of the mural,
right. And widening the sidewalk. People can have a little more gap over here. Well, I think we're back to our original thing of, you know, the the community outreach and
and education that we were talking about, that I think that was our our goal in putting that together was to.
Limit the, you know, the desire of people who want to vandalize. It is not so much vandalism because accidents, kids going to be kids when they run. It could be anybody up against
that wall. Yeah. If it's not going to peel it. Yeah. So it's getting getting I will say vandalism is a recurring trend in that area. Putting up the
Bahamian, moving the Bahamian fence, putting our when we were doing the concrete, they put wood down and the wood before the concrete was even poured
was, you know, gone. There was an issue just recently, since then, with some irrigation and irrigation box and some vandalism that caused some issues there as well. So, you
know, and I'm not trying to get off topic, but working towards a solution, I think there needs to be. You know, you put
planter boxes there, things can still be thrown, you know, and you know, that's an inherent risk of putting something in a
public area that, yeah, things do happen. Okay. What I lean toward the middle. Yeah. My my
inclination is to lean towards the metal just because it seems like it's going to be a little more durable. And, you know, I
just don't want to, you know, throw more money at it. And then we're still back at the same place. But if this can resolve some of the issues and
then the educational program can resolve a lot more of the other issues with the with the vinyl applied to the metal, is
that easy to clean? Yeah. Cleaning shouldn't be an issue. Like as far as if there is spray paint or something like that. Once you get into that, if there's applied pressure as
in something to scrub off graffiti, whatever it may be, you know you can't take are scrubbing to it. We can't take a pressure washer to it. Gotcha. We could, but I think we learn
real quick. It was a bad decision. Right? Right. Okay. Well, you know, there's only so many things that we can control and only so many things that we
can do. I think it's it's an important mural. So I'd like to do what we can and then, you know, try the, the education and outreach to, to, you know,
kind of lessen other issues. I'll also. Continue to see if there is another solution similar or, you know, it was recommended like a poll or
something. But, you know, I'm not going to say there's nothing else that can be done. And, you know, maybe other people have some other options as well. So yeah, and, you know,
maybe, maybe down the road it's something that we consider, you know, doing little add ins that that might help a little bit, as long as we don't have to
redo the entire thing. But I, I do lean towards the metal, the vinyl applied to metal panels as well, in hopes that the
additional cost is going to give us some relief from some of the issues we've been having. Yeah. Martha, do you have anything you want to add? Well,
I'm leaning toward the metal, too. I think it's more durable. Yes. Do we have anybody, any guests today that would like to.
Make any recommendations or have any comments on the discussion before we vote on
moving forward? Yes. Okay. Juliana de 413 East Oakwood Street I got it right. Okay.
About the mural. My suggestion is the metal part. I think the metal part. It wants to go against that wall. It's going to stand out a little bit more.
Which goes to say if I'm passing by, I'm going to step out from it because it's stepping is, is is pushing out. Right. So that may help it a
little bit too. A protective coating. Have you asked the. Calling them about any kind of other protective coating that
can go on that mural? Once we put it on that metal? I, I think they were talking about. I'm not talking about Plexiglas like a plastic coating, you
know, I'm talking about epoxy, epoxy or something like that because I work in epoxy and it does protect and it hardens. I mean, it's like concrete, right.
And then it's something maybe we could scrub it since it's going to be on the metal. You can apply that to it and it will stick better than sticking
to that concrete. So getting the metal option given to us was. A more recent item that
came up. So I can certainly reach out and say, hey, you know, what are the possibilities of getting epoxy on there? Miss de, bringing up the fact that it will be sitting off the wall a little
bit? We could like that. Yeah, that thinks that the switch is standing off the wall. We could also have a framed out little wooden piece next to it. So if
you do run into something, you're running into the wood and not the vinyl on. It's going to make you step off. Yeah. So that that is an option. You know, I don't think it's going to protrude too much off
the wall, but I will certainly email and talk with the the provider on, you know, epoxy or some sort of resin or something on there that may harden and
not discolor in the sun. Yeah. Even if it's something that, you know, could be, you know, sanded down or power washed or something like that, that, you
know, if it's if there are issues that you could do that you can send you can you can clean it like that because it, it's, it's going to give it the original protection. And you can hit it with a high power
brush. Yeah. Yeah. So if we could get maybe pricing on if that's if that's viable for this product and, and what the cost would be. I think I would like to see some sort of
protective coating on there. I was never a big fan of the, the plexi just because I know it's going to turn yellow and scratch and all that kind of stuff, but epoxy that we could
actually scrub on if we needed to, might do the trick. Yeah. And yeah, so it certainly can't hurt to ask. And if she's not
able to you know, there's other companies you can look into. There's another opportunity to say, hey would this work and ask others as well okay.
Certainly an option there. Okay. I think at this point we could probably oh. Any other comments?
Anybody wants to make. Oh, okay. So I think at this point we can we've all pretty much agreed on the the vinyl applied to metal
panels. So. I suggest we can move forward with that. And then the epoxy is something separate that that we can decide at the next meeting once we have additional information.
Is that sound right. Okay. Do I have a motion to approve the vinyl applied to metal panel? I'll make a motion that we
approve the vinyl to applied on metal. Replace the Rudy mural on the wall at Dorsett Park. Okay. Got a second. Second. Excellent. Roll call. Miss
Hickey. Yes, miss. Taylor? Yes, chair? Robertello. Yes. Okay,
so. That. So our next order of business is an update on the relocation of the Black Heritage Project sculpture to
Dorsett Park. Pictures. We've got some pictures. Jamie has update on that as well. Okay.
They're they're. So. Do we need a motion to discuss or. We're just going to get an update, right. Yeah. So since these
pictures have been taken, the third panel has been added to the to the concrete. So it is pretty much all done. I have not confirmed the uplighting if
that has been completed just yet, but I rode past there earlier today and it does look really, really nice. And I'm waiting on an email back about the lighting. I'll have staff
out there tonight, so I'll give them a call after after it gets dark and say, hey, you know, it all lit up. Those lights look like this. Yeah, let's go light it up. You know, it looks
pretty cool. And yeah, I think it turned out very well. Okay. Excellent. Last pieces will be, you know, cleaning up and around the concrete pad and
then also back towards the cap center, cleaning up that corner of the intersection and making sure, you know, it just esthetically back to where it
should be there. So okay. Yep. Was there, was there a plan to do any kind of landscaping or anything border or anything along the the edge of the
concrete slab? I'll get with our park supervisor. There was also discussion on a seating area in the middle. And
thinking back on that today, I don't think I saw that part, so I'll get a confirmation on that. Okay. And have that shared with Brandon. Okay. Perfect. Thank
you. I do have a. Jamie Jamie on. I noticed up there when you go there you you all the pieces are there now. But I noticed you can walk. There's gaps
where you can walk through. Absolutely. So with those gaps in the back be closed because we don't want kids riding through there with a bicycle, just circling through, using it as a obstacle course. So in the
plans it was not going to be closed off. It was going to allow for that flow. So there has not been a a plan to close
those off. So it was closed off it, it was closed off at at the old location. Right. So now we know that kids ride bikes and they love obstacle courses. So
we can foresee something. Kids are going to take that little side path and ride all through that. Yeah. So can we do any preventative things to, to, you
know, like deter them from wanting to drive there, ride their bikes through there because, well, once the seating on the inside is completed, it may make it a little bit
tighter and less enticing because you can't go fast or whatever it may be. I think that's one of those situations where if it becomes an issue, we can address that at that
time, but you know that that could also be a Parks and Rec advisory board suggestion that we'll have our parks supervisor at those meetings, and he can give his insight and
professional opinion on that, too. But the plan was to have it open so you could walk through and check out each side and and get to the seating area. Yeah. And and not have it
closed then. But looking at the seating area there's nothing inside to check out. There's no pictures on the inside of this. It's the back wall of the of the of the of the art exhibit.
It should be double sided on the. Yeah. It's not finished in. It's double sided on these pictures. Well this one this one shows two sides. This one I guess didn't have the double sided on there yet, but this
one pictures were in progress. As I mentioned I went by there today. Yeah. See on this one. It says she's got some and they are double sided correct. Yeah. Yeah. Following the plans with
that. So in the triangle. Yeah. No but we're at in the oh the seating is going to be something that's on the ground in front of it. Are you saying in the middle of it all to is
what I believe the original plans called for. Okay. Yeah. And to kind of add to that part of the reason for leaving it open, besides accessing the
seating, was it was a safety concern that like, kids might ride bikes through there, if it was closed off, they might jump and hide inside too. So for,
you know, whoever, to be able to look through and make sure no one's in there or just a safety thing from kids climbing and falling and hurting themselves to get inside. I think that was part of the
discussion. On why it was left open as well. Well, and as if I recall correctly too, is to facilitate people being able to walk around and through and look at all the pictures and,
and have the seating there so that they could and. Right. Yeah. And Miss Taylor, to your point there, if it is this issue, simple planners being placed there as, as even a
trial base, you know that that's not something that that's easy to do. So we could we could do that. The poles that, that Walmart has in front of them. The you know that.
Yeah, I think I think that I think the poles would take away from the esthetics of it. I, I do not suggest that. But yeah,
big, big heavy planner might look look nice there. So I think again that's, that's one of those situations where. All right. If it is, you know,
becoming a safety hazard. It's like all right one you know let's. Mitigate those, those nuances or you know, nuisances that someone might see and go,
oh yeah, cool. You know, I'm going to the lighting will be automatic to come on at a certain time at night. So I think it'll have a, a sensor on it that once it gets dark it'll
be kicked on there. But I'm not 100% on that. Okay. All right. That sounds good. Looking forward to going and checking it out once we get the seating
in there. And. Probably have a little picnic or something. Right? Yeah. Okay. Next order of business is the update on
the community outreach lesson plan for Dorsett Park. Park projects. Okay, you don't mind that at the last meeting, Reverend Royle and I were
supposed to work to try to get a field trip with the schools. So when we met with the panel, the group of people, we came up with another idea, which is, as
you and Martha, we're coming up with a idea of art in the park. So this did I get one that was written on? Yeah, yeah, that's
right. One the Art in the Park project. Art in the Park fun day. So. So I'm requesting that we place be placed on the arts
next. I said January, but maybe we can put it on the next when you bring the the what is the the painting of the water. You
know, the things on the ground, whatever it is, the storm drain. I'm not good at this. So when you when you bring that storm drain project to the table for the just put this on the table
at the same time. So we'll do two things at one time. We can get approval from the board if we have to take it to the commissioners. Gotcha. But the it would be overview as art in
the park. And we have it for the Union Academy neighborhood. But it it pertains to all public and Tarpon Springs schools, art teachers and that sustainability project.
Hopefully we can kind of like work them in to have a, a, a table out there for the kids. But we invite the mayor to do another unveiling of the exhibit, invite the artists,
each one of the artists that put up the Stephen Oliver and Nolan Anderson Nolan. I spoke with Mr. Nolan. He said he'll be glad to come and talk to the
kids and be a part of it. Some display some of his art. Yeah. Mr. Stackhouse, he's in agreement with it. He would. He would be helping out because he's an artist. He can help us out with this, with this
project. But both of those artists can talk to the children about their exhibits. Yeah. Have the children do an art contest. Well, that would be something that would the one
that you're trying to do for the sustainability. Maybe we can do art contest to see who whose art would win those one of those lids. Yeah. Serve hot dogs, hamburgers. Well, not hot
hamburgers, but hot dogs. Drinks. Cotton candy, sodas, popcorn, etc. anything that a child would like. Work with the revitalization group to have a
program that allows speakers to talk about the importance of preserving these exhibits and maintaining the park for future generations. We have young people that does. What is it
Halloween thing? They do Halloween in a trunk or treat, trick or treat in a trunk or trunk. They have a lot of they have a lot of contacts with with young people in that community. And it'd be packed
with children. So those two ladies, two of those people would be willing to work on work with us, with the revitalization group, on the program, have face painters
might be other types of fun stuff that, you know, people can we can have with kids that kids would like. I don't know, I'm just thinking about face paintings came to my mind first. Have games for the children to
play. Invite Linda Eisner and the Garden Club to provide a temporary sculpture to sculpt. Sculpt a plant. Because they were saying that they have they have plants that they can
sculpture. Do you mind if I just pause you for one, one moment. This sounds like a great event. But as far as like
having this event put on and promoted by the public Art committee is kind of outside the scope of what we do, as the public Art Committee is meant
to procure art in public places in the city. Art pieces like sculptures and paintings. But to put on a like a festival or event is outside of the scope
and purpose of the committee. So this is something that could be done outside of the public art committee, but not as a public art committee event. From my understanding. Would it
be something that we could approach Parks and Rec with to do something like that or. Just
a big part too? Yeah, I think outside of the scope of the committee, it could be an event. But as an official public art committee event, it doesn't
really fall into the scope of the committee's purpose. That's twofold. I'm kind of not respectfully disagree with you, Brandon, because this exhibit
that's going up, they're both exhibit is art project. It comes from this committee. So so with with them saying let's try to have something to
educate the community about these art exhibits. That's art that that's art. Everything here with the children, all art
based by them. Even doing the art. The contest to provide for the sustainability for that project. So everything here is art based. It's it's not it's
not common when when we say work along with the revitalization, the art committee we're trying to get, not only that's not us, that's them. If they want to be a part of it and they can have, you
know, speaker that says we need to protect this art because that's our main function, is to get people educated on art. I don't think we ever had anything in art in the park, said Art art project. For this
park, you had it downtown for the adults and for the for for tourism. But what have you had at the park? Actually for art, for our kids. So the art
project is art in the park. This is all about. But like, let's just say, okay, we're going to do an unveiling and have the mayor do a dedication
for the relocation of the project. Totally understandable. But to have a festival celebrating art, we would have
to refer to the ordinance. You know, I'm new. This is my first meeting, so I'll be happy to check that. But I think the intended purpose of the public
Art Committee is to procure pieces of public art for the city, right? I mean, and this seems just a little bit outside
of the scope it so committee's purpose. Right? I would say that, you know, as an art committee, we could champion it. We could say this is a great
program. I would be happy to volunteer at it. And but I do think that as far as an event goes outside of the unveiling, if they wanted to, if we wanted
to talk to Parks and Rec or a neighborhood community organization or whatever about doing this, I think it's important. I think it's. I
think it's important to do I do understand what Brandon is saying as far as the budgeting that we have available. I don't think that our ordinance allows
us to pay for an event like that, but we can certainly champion it and we can. Yeah, I just I just don't know about
having a budget for it. I don't know if that's in our purview. And I'll, I'll check the ordinance as well. And we can revisit this at the next at the
next meeting. And, Brandon, you can come back with, you know, the specific ordinances. And but I would like to if it is outside of the purview as far
as budgeting, perhaps we could champion, just like, you know, other organizations come to us saying, you know, we want your help doing this art stuff. Maybe we could go to another
organization, say, we would like your help to put on this event, you know, related to the art and ask them for budget to do that, because we were going
to work to get the the schools, to do field trips. Who's going to budget that? At our last meeting, we were saying to
educate, to educate people about this art. And we were, we were, we would we were given the opportunity to try Reverend
Royal and I to go and try to get a field trip to have kids educated on this. Sure. But it was the art. The Art Council was a part of that. Well, okay,
so I guess what I'm not understanding is the field trip you go and you like, you walk around and you look at it and you talk about it. Maybe one of us is there to to talk about,
you know, the process of getting the art in there, how important public art is to communities and representing communities and stuff like that. I'm not sure what we need a budget for a field trip for you
taking kids there. You're just going to. How would we even coordinate that financially? And and as far as to have
insurance for taking those kids out of school in name of this art to, to bring them there. So. Okay. Well, generally. It's
been a zillion years since I was in school, but generally when we went on a field trip, we went like to a museum or something, but the school was in charge of transporting the kids there and keeping track of
them and then transporting them back home. The museum is in charge of doing museum things. So, you know, we would I, I would be happier. Maybe Steven would or whoever a
representative of the art committee would be designated to say, okay, they're doing a field trip here. Can somebody volunteer to show up and and give a talk about the importance of public art and
how it reflects the community and the, you know, the history of these projects and how they came about and stuff like that. I just don't think we need a budget for that. Okay. Because,
I mean, I remember, I remember we talked about, you know, the schools having field trips there. There were I don't remember any discussion about no art committee paying for it, but it was art. No. And you're
right, we didn't discuss anything about art committee paying for it, but it was a new idea to say rather than do the field trips, then do art in the
park where it connects with the whole community. Yeah, but I'm, I'm, I'm interested in hearing feedback on what the Art
council really can do. Because if you can't host the art in the park for children, what else can't? You can procure
pieces of art that is paid into by the fund, from developers and projects being built in the city. And you know, we've provided the art, right? You
provide the art in the city, in public places, right? And we can provide speakers and, and you know, I love painting faces and stuff like that. You know,
I'm I'm happy to I think this is a fantastic idea. I love it. It's just that budgeting for it is not in our purview. But again, we can champion it and we can maybe get other city
organizations involved too. That's more their purview. Yeah, it's not the event. That's it's just not in the scope of the public art committee to fund it.
The sounds could they fund what part of this on only the piece of art that is already there? And the Coach Rudy mural and get maybe campaigning for the
artists to be there to give talks and volunteering for some of the other activities that you want to do. I, you know, the the only thing that really
requires payment money is what the hot dogs and drinks and cotton candy. And we might be able to get Walmart to even donate something like that, you
know. Yeah, it just it seemed like everything else here is doesn't cost anything. It's only the food and drinks that cost something. The 2500 was
thrown in there as a ballpark, but that's because we don't know if the artist is going to ask for anything for coming back. Right. For that time. Yeah. So and we was trying to
just cover it might not take all that, but the, the main thing is the, the art, the art council. Right. Well and you know, if, if you contact the
Garden Club and have Linda Eisner come and do that, maybe they would pitch in some money for refreshments. And if you had the cops and kids and union
like, you know, I think this is a fantastic event. I would really like to see it happen. And I would be willing to talk about a lot of different options that we can come up
with as far as raising the funds. It just I don't think it's possible to come out of the art committee budget, but Brandon is going to check and I'm going to look at it too. And we'll see. Maybe, maybe
there is something about that would be happy to check with the city attorney and get his opinion. Usually where there's any kind of gray area or something we're unsure of, that's the best way to move forward, is to get his opinion
and to have him review the ordinance and give us the best advice on how we can, you know, if if it's one of these things, because we have discussed it in our past meetings about
educating the community to provide some protection and understanding for the community to understand the artwork that we've spent all this money to put in there. You know, it could be we could get a small
budget for some some stuff, but definitely checking with checking with the the attorney and the the ordinance. And if that is a no, then I say we
start looking at plan B, C and D about who can we approach to get some funding to make this happen? Because I think it is important that that this happens and we just have to
make sure, because the further we stray out of our scope, then the more trouble we get ourselves into. And then we're expected to do all this other stuff that's just not in our scope. Right? So and then we're
dealing with young people. I'm thinking about the children, you know, because when the art is there, it would excite me to be able to meet an actual artist that these projects and talk to them. You know, you
never know what young man you'll touch just by doing that. But this committee, this art council, if they can't support something like this, well,
we're we are the public art committee, not the city art committee. You know, it says it's you know, it's for public public art. We do have a narrow
scope of the ordinance that that is what we were created under. So we have to abide by that because that's legal. But there's nothing saying that we can't put out the word that
we're championing this and we want it to happen and, you know, reach out to different youth groups or whatever to to start raising money for it, because I would absolutely like to see
this happen. We just need to stick within the the laws that we're bound by, and we'll get clarification on that. And we'll go to plan B and see if we need to, because I would
definitely like to see it happen okay. All right. Great event. Yeah. Good okay. So that
is number four. And I'll just say before we move on, I think that based on what we started talking about, you know, about a brochure or something like
that, that, that this is a great opportunity to get a lot of people involved in it and really make it a community happening. And I think that
that's going to go a lot further than a brochure or something like that. So I like the direction that it that it's gone and I'm very excited about
it. Okay. Any other comments about this before we move on? Okay. The last is budget update and developer contributions. I
have no update on developer contributions. And October 1st was the beginning of a new fiscal year. So the park has no expenses at this time. You got
a fresh slate. Unfortunately, I do not have the current. Fund amount. Projected balance as of
July 8th was $210,341. Okay. All righty. Now we are moving on to new business, new projects, updates and proposals.
First one is the illuminated art boxes. So I am working on that. I've got the information
for the. The call to artist, the path to call to artists. I've got spreadsheets. I just wanted some input on. Let me see if I can find it. On the
changes that we wanted made to the call to artists. And I think that that could probably be something that. That. Megan,
I could send to you my proposed updates and you could maybe email it or email it to the rest of the group. And while we're off, maybe give suggestions back. I think that,
you know, I'm not going to try and reinvent the wheel on this call to artists as long as we agree on the timeline. So I thought we could discuss the
timeline today. And then, you know, as far as when we're going to send out the call to artists, when we're going to close the submissions, and when
we're going to get approval from the BoCC and all that. So do we need a do I need a motion to do that? Yeah, I would make
a motion to discuss the changes in timeline and okay, then I will go ahead and make the motion. Since I'm in charge of it, I would like to make the motion to talk about the
timeline for the illuminated art boxes. And and I can make the motion as chair. I'm sorry. Either Martha or Katie has the
motion. Well, I will make a motion that we talk about the timeline for the illuminated art boxes and the installation.
Do I have a second second motion roll call, Miss Hickey? Yes, miss Taylor? Yes, chair? Robertello. Yes. Okay, so we
again have the 40 spaces. That's 20 art boxes, one on each side. The changes that we had been talking about were
taking ten of the 40. My my proposal is ten of the 40 for student and youth groups.
Students. Youth groups to showcase their artwork. So that's one thing that we can
decide on. The other thing is the timeline. So we are in October now. I would like to
get the call to artist out if we can get consensus on what it says by. This time next month.
So we'll say whatever November, I'll just pick lucky number seven and. We can adjust it if we need to. So that would just
really entail getting these timelines nailed down and get the call to artists over to Brandon. Oh yeah. What do we
need to meet again? I feel like we would need to do like have the call to artists like, finalized in front of you at the next meeting, and we would make a motion to accept that,
and then he could send it out. Okay, okay. So I will get it sent out to you with my proposed edits and what we talk
about today by November 7th. And then if you could send it out and, and we could work on it individually to that way it
could be ready to, to finalize on at our next meeting. Perfect. Okay. So and we'll have to decide later on when our next meeting is going to be, but
hopefully sooner rather than later. So as far as the submissions, the honorarium $100 per chosen artwork, I think that that has worked well.
I don't see any reason to change that. We get more than enough submissions. So is anybody okay, so that's going
to stay. Final selection okay. So. We'll have to work backwards from when our next meeting is. But from when our
next meeting is or forwards. So next meeting is whatever date from there. We'll send out the
call to artists within a week, two weeks, whatever your schedule allows. So CTA within two weeks. Is that doable?
Thanks. Okay, so and so the submissions will run from then.
And let's see. Submissions were from. See it on here. See. I
guess as soon as the artwork the call to artist goes out we'll do that. So. Submission
deadline. Do you think? Two months. What have we done in the past. It's not saying well let's see. It says oh deadline
for submission Friday, September 30th. But I don't know when these were sent out.
Deadline. Friday, September 29th I know that we had talked about because the holiday season is so busy for public works that we would plan on
trying to get them up like February or March. So, and we need how much time to do the actual printing of them.
They're pretty fast. Okay. Send them to UPS and they they're pretty. I would say three weeks, three weeks. Okay. And that would also depend on how we how
you decide to do the meetings moving forward, whether it's going to continue to be quarterly or you want to move to a bi monthly or, you know, that will all play into when
will be able to get the first round of submissions approved. And right, right. So the call
to action within two weeks of that, or the call to artists will give them. So I'm just
going to say. 21st, do we? I think I'm on a month. Okay. That would be more than so you've got. So we'll say seven
and then within two weeks. So that's the 21st. So maybe you want to give people till after Christmas, maybe January 2nd.
Have the deadline be I would wait till the next meeting when we review the call to artists to set the timeline. But it's in the call to artists, right?
The timeline is when we make the call to artists, when we approve the language at that time, we can set. Okay, okay. So I'll do all this math when
I'm doing the thing to send to you, and then we can go from there. But I think, I think one month, one month to submit. And
then and we'll all time that up with the date of the meeting. And then. Then we present it to.
Final selections. Selected artists will be notified via email following the meeting. Okay. All right. So I will get
on that. Do you have a theme? Let's talk about a theme. This the what inspires you about Tarpon Springs was the theme
for the 2022, 2023. And then this one. The theme is what inspires me. They're both the
same. Okay, well, we could do that or we could change it up.
Come back next time, okay? Okay. Inspires me about Tarpon Springs. We're in Tarpon Springs, so why not keep Tarpon
Springs? What about can we just say what inspires me about nature or what inspires me? I
don't know, we can keep it. The same is that if everybody wants to do that. Yeah. I don't think you have to decide until we confirm the call to artists anyway. Okay. If that's
something you want to table till the next meeting and think about it. If everyone wants to brainstorm and. Yeah, yeah, let's do that. I'll come up with, you know, if I can come
up with something else while I'm putting, you know, doing all the math, then I'll say, here's possible themes if you guys can come up with or three
themes that you want to consider as well, and bring those to the next meeting, and then we can incorporate it if
we want to. Okay. Okay. I think that's all we really needed to talk about. So are we going to
we we talked about it. That was the motion. Do we need to make a motion to finalize the call to action next time or will
just it'll just be old business perfect okay. Theme timeline. Call to artists. Next new
business is a mural proposal. Public works. Bleachers. So this submission came to us through the city manager and
the staff submission comment box. So a staff member who works across the street in the Public Works building had requested the that the
committee or the city in general look at this for a building as an opportunity for a mural. And it's the old bleachers from when the city
was a high school. So you can kind of see where it looks like steps coming down the top of the roof. That's actually the side of the bleachers. And I believe the one of the
departments has some offices in in that space, too. The Public Works building proffers to the right of it from where we're looking. Okay. So they were
asking about a mural. Yes. Okay. Demanded that it be a space for murals. Okay. So. We would need
to talk about what budget for materials and artists and what we would want to call to artists to look like, and how much of the building we would
be painting on and all that. Yeah. You like the space to begin with for mural, if you'd, you know, ideas like, oh, well, would we have to remove some of these bushes or, you know, yeah.
Kind of just thinking critically about the space as a whole. Yeah. I mean, there's a lot of bushes, but the side here could be right. Could be
just one portion of it on the side. Yeah. Not the whole front facing building. Yeah. That's that's a lot, but. Or maybe
both sides. Yeah. And this is right across the street. You know, that's so funny. I have
never even noticed that that. Okay. So I guess do I hear a motion to talk about a public
works bleacher mural. Did they have any kind of guidelines or what they want to see or not particularly just saying, here's the canvas. Yeah, just a
mural on the old bleacher building. Okay. I'll make a motion that we talk about a mural for the old bleacher
building. Okay. Do I have a second? Second? Okay. Yes. Miss Taylor? Yes, chair. Vitello.
Yes. Okay. Discussion and consideration. I am all for decorating. Any blank canvas that anybody offers up. I'll
start there. That is a big, long building with a lot of windows and and holes in it. So I would I would lean towards
doing the ends and maybe if we could request that the artists incorporate the unique shape of it into whatever design they
come up with, might be kind of cool. Anybody else have any other discussions or thoughts?
This is the side of the bleachers where it looks like you're walking up the stairs, right? So that that side where the door is. Yeah. And where the air conditioning is, you're going to do all that wall over
there. Plus this side here, I, I'm recommending not doing this because if you go around that that's this whole long right now it is right there on, you know, against the cobblestones.
Right. Well, if this corner is this corner here, okay. And then you can see on the other side is the mirror image of that. So you've got on each of
the ends, you've got that stair step. And on that wall. You have to paint it. You have to just right here. Right. You have to incorporate the whole
the rest of it. Otherwise it's going to it's going to be off. Not going to match. You know what I mean. If you just do the side where the stairs are, where that door is, if the mural is right there and then
the mural, the color should tie in with the rest of the building and inquire about the bushes and the possibility of getting those removed. Okay? I mean, I hate to remove greenery.
Maybe we could just have them trimmed down quite a bit. Am I correct in? Based on these images? Is that the front that
long? That's where you walk in or is that the back? Only if you walk in on the sides here. And then there is one on the front to where that awning is.
I have not been in the building. Okay. Not exactly sure. Yeah. The street part, like there's no doors that access right on to go into that public works. Well, that public works sign is.
Yeah. You have to go through there. You see the public works. Yeah. You have to go through there. Okay. Well, I could definitely see tying it in with
paint color. I just don't know if we want to do a budget to mural that entire length. Although we could, you know, we could leave it up to the
artists and say, here's the building. You know, at minimum, we want the two ends. We'd like to incorporate the unique shape.
And, you know, welcome ideas about tying it, tying the rest of the building in. I mean, it could be just it goes around the corner a little bit and then, you know, there's an
ocean there or something, you know, coral around or something like that, I don't know, but it was a bit tight in the front of that was a kite. Then the tail would be the rest of the
building. Yeah. Yeah, something like that. Yeah. So. That's a
great idea. Anything else? So we've got two ends. We've got.
Tie together with. Side of building. Okay. Can we get the
square footage of all that. Because we would need that to kind of just, you know, ballpark to know how much materials we should be
budgeting for. And, I mean, that's a pretty big project. I would think a couple thousand as far as for for the artist.
Or we could leave it open to have the artist say, present a budget, you know, for what you want to do. We could always go
back and say, can you do that for half? Right. If it's, you know, if it's outside of our ability. Yeah. Also that trim at the top like above where the
air conditioner window units are. Yeah. Think about even just something there. Yeah. But I can ask for the square footage and those details. Yeah. If we could just get some
measurements for it, then that would allow us to, to better provide a budget. And also, you know, square footage is going to matter as far as the the
stipend that we would offer an artist. And we could always say, tell us how much it will cost. But I'm afraid that if we do that without any parameters,
we're going to not have anything that we can actually do. And that might be dangerous. Yeah, because I'll fall in love with the most expensive one. Like my husband always says I
do. When you walk through that gate right there where it says public works, on the right hand side. There's another building over there too, right? Yes. To
the right is the Public works office. Right? Yeah. Okay. I'm surprised they don't have central air in that building. Yeah. What's with all the. I
heard recently that actually the sign shop had moved in there where the city makes, like, road signs and stuff. Oh, okay. So it's more of a shop area, a little rugged. Gotcha.
Well, maybe that would be kind of. Maybe we could incorporate that into a theme, right? Yeah. That's that's actually. Okay. Would you like us to ask the Public Works because it's like
kind of their space. Do you want us to ask them if they have a preferred theme or what they want to? I you know, I would prefer to say if you guys have something in mind, let us
know. But I really don't want to, you know, limit the amount of, of art submissions that we get because they don't want to
work within a particular theme, but if they have ideas, then, you know, I definitely like to consider them. And maybe we would look at them and say, hey, yeah, that needs to, you know,
maybe it needs to be industrial looking or, you know, maybe it needs to be rugged looking or something. So definitely, I, I want input from everybody who's going to have to look at it
every day. Not to say I just don't want to get any expectations that we're going to do exactly that. Right? Because, you know, the artist is really going to need to have
I believe that the artist needs to have the ability to do their thing. Okay. So are we going to you're going to come back to
the next meeting with the the space measurements. Yes. And the any feedback from public works. Yes. And. Okay. So once
we get that then we can talk about budget and moving forward with that. Right? Okay. So discussion had. We already done
that then the next thing. Yeah yeah we did that one. Yeah. Art in the Park came a little earlier okay. So now we're down to public art committee
meetings. Return to monthly bi monthly or continue quarterly. What do you I have no problem with meeting bi monthly or
monthly during the, well, school year. I guess I would call it. It's just the summers that I have the problem. Okay, so I'm, you know, I'm fine if we whatever you decide to do.
Okay. Katie, I would like to see bi monthly. Okay. Yeah, I, I definitely don't want to keep it quarterly because we've got a lot of things that are in the
works. And I'd like to see them keep moving and things move slow enough already. So does somebody. Do I hear a motion to move to bi monthly? Make a
motion. We move the Art Council meeting to bi monthly I second excellent roll call, Miss Hickey. Yes, miss Taylor? Yes,
chair. Vitello. Yes. When will your next meeting be so? Two months. January. So I'm looking
at December. So we don't usually. Yeah. We could have one in December right. Yeah December 10th. December 10th.
Thanks. What day is that. Wednesday. Wednesday. Oh yeah. Wednesday December 10th is our
next meeting. Okay. Excellent. So we all have our our assignments. Staff committee,
public comments and announcements or minute limit staff. Tarpon Arts is kicking off our season October 17th
with a little ditty about Jack and Diane. It's community theater production. It's running the 17th, 18th and 19th, and then the following weekend few tickets left. So get your
tickets. Is it based on Mellencamp music? It's inspired by the song, but it's a very it's like a a kind of a play within a play. And a lot of
local Tarpon Springs references. And it's very funny. Oh very cool. Well, that's all I got.
Public comments. Yes. I won't preach a sermon because I know we don't have time to take an offering. However, in retrospect, I just want to say
that I appreciate the work that you're putting toward the mural. It means a lot to my family, and I appreciate definitely the the hard work that. Jamie is
doing. And, and also the effort of the committees that are surrounding this to make it happen. And I believe that you all are doing what you need to do. And as far as that's why I
don't have much to say, because all of my questions are being answered and I see things are being progressively moving forward. I would like to say
that going forward, when we get to the point of the education of the community and the historical background of Mr. Dorsett and and Rudy and
etcetera, that really going to stand by to be able to participate in whatever way I can to help the community go forward in that aspect. Thank
you for your time. Outstanding. Thank you. Well, definitely hold you to that. We will need your expertise. This is home. Absolutely. It's my adopted
home and I love it. So I. Juliana de 413 Street. Okay y'all comment on everything that I wrote notes on. You have
four minutes okay, here we go. So rank it. You know I am. The. Storm drain murals. She said
she y'all will have five of those right. We're we're we're looking at five right. Possibly more the different locations and possibly more. That's a good idea I love that. It
reminds me, Don, when we first when I first started coming here, we talked about the Duke Energy boxes, remember? Yep. Still on the plane, right? Yep. Oh, yeah. Okay. Oh, yeah. Okay.
That's still on the. That's near and dear to my heart. Okay. Me too. I keep locating them to like. Oh yeah they're going.
Yeah okay. Also. About the education I'm, I'm for the education. The not only just the children, the whole community on the different
things. The art, not just the art that's going in the park, the art around whole Tarpon Springs. Let's think about, you know, y'all talked about the QR codes. Where are you at with
that? Are we going to are you still going to be doing that? Because people need to know about it. And the commission meeting someone talked about.
How do people locate things in Tarpon Springs? We actually do have the art locations on Google Maps. Okay. But I don't
know that that the word is out about that. So that's what I'm talking about. It's not out. Okay, okay. The illuminated art
boxes. You say you have 40 of them. Where are they and which where are they? Where are they located? Around the city. Are there all along Dodecanese. Okay. And they're attached to
the light poles. So the ones attached to light poles? Yes. Okay. I would like to attach the MLK light poles to possible.
Well, we'll see if we're if, if, you know, that could be a project that is taken up next year to expand that. Right now those are the same light poles
okay. Okay. A mural proposal I would like to see a mural proposal on a wall on the corner of Ross Avenue and Oakwood. That big old pretty
wall there is that city owned property. Yes it is. What? What is there? The cap center. Oh, the cap center. And that's city
owned property. Yeah. Okay. Okay. Also, can I the building or. Yeah, the wall of the building. Okay. So as far as presenting proposals. No, I
just thought okay for that. Okay. Also on your discussion of mural of the public, I like the idea you asking the workers, just not the asking, but suggestion from them what they
want, since they did put it in the box, the person that put it in the box probably got an idea. Probably. Okay, so let him
bring forth that idea. I think that's it. Oh, and y'all kits remember because I was witness
to the the paving of the stripes on North Distant Avenue and MLK, they used to put that paint down to make an he's that
big blow torch. Oh, so think about that, kids. Blow torch okay, okay. Yeah. Okay. We're not going to be giving any kids blow torches. If anybody if
anybody gets a blow torch, I get one. Yeah. No kids have that been put down. So it was a I can have yours too Brandon. We'll put that in the kit. No, no blow torches. But we will
definitely. You know it might that might be something that they need to come by and do afterwards as a treatment or something. So yeah, we should definitely know about that.
Yeah. Yeah okay. Excellent. You are right on time. Good job I did I thought I had I was going to jump up and get some a minute. Oh you you're done I'm
done for this time. Come back next time okay. So I think we're ready to adjourn. I'm adjourning October 8th at 3:50
p.m. and look for our next meeting on Wednesday, December 10th. Second floor, Media Room, City Hall, 2 p.m. Welcome,
Brandon. Thank you. Works. Yay! You all have a great day. Thank
you.