## Meeting Overview The Bellingham Arts Commission convened for its November 4th meeting in the City Council boardroom, with five commissioners present and two absent. Chair Patricia McDonnell and Blake Hudson were not in attendance, leaving Eric Shew to facilitate the meeting. The agenda centered on three substantive items: approving an artistic approach for the Middle Fork Trail project, formally deaccessioning a deteriorated sculpture, and reviewing the city's expanding pipeline of Percent for Art projects. What made this meeting notable was both the routine business of managing an aging public art collection and the forward momentum on new projects. The commission grappled with the practical realities of public art maintenance while also charting paths for nearly 20 upcoming projects that will shape Bellingham's artistic landscape in coming years. ## The Middle Fork Trail Connector: Art in Wetlands Paul Knippel from the Parks and Recreation Department oriented commissioners to a new trail project that would create a crucial pedestrian connection between Cordata Park and Stewart Road. The Middle Fork Spring Open Space Cordata Connector Trail represents more than just a walking path — it's a 1,300-foot corridor that will link the shopping areas around Meridian Street with Cordata Park, passing through sensitive wetlands along the way. "This was actually one of the sites that they were looking at for the tiny home village originally," Knippel explained, describing how the 9-acre parcel evolved from one purpose to another. The trail design includes nearly 700 feet of 10-foot-wide boardwalks elevated above the wetlands, plus 600 feet of gravel trail, with weathering steel substructures that will develop a rusted patina over time. The environmental constraints proved to be the defining factor for artistic integration. As Darby Galligan from the planning department explained, "One of the main considerations for this site is that it's heavily encumbered with critical areas, and so they've already gone through that mitigation process to determine where impacts can occur. So the idea of putting artwork really anywhere on the site is kind of off the table, because that would reopen mitigation." This left the commission with a $22,000 budget and limited options for placement. The discussion naturally turned to incorporating art into the boardwalk infrastructure itself, particularly the guardrails and interpretive signage. Commissioner Jody Bento, who lives near a similar boardwalk on Fraser Street, brought practical experience to the conversation: "It gets vandalized a lot on those top cap rails, on the angled rails, and if we use those again, it might be worth considering incorporating something into those as a deterrent to vandalizing them." The idea of art as vandalism prevention sparked broader thinking about function and beauty. "People just ride on them," Bento continued, referring to the Fraser Street railings. "Yeah, people tag on them, and ride on them, and scrape into them, but if it had something, like, interesting, and it, like, flowed you along the walk, it might be something to consider." Commissioner Amy Chaloupka raised questions about budget practicality, suggesting that with only around $22,000 available, the project might be better suited for emerging artists or even students. "Way back a long time ago, I used to be a public artist, and when I first was getting out of graduate school, a project at this kind of a budget would be kind of put out to graduating students as sort of, like, a first project kind of thing." The timing proved favorable for artistic integration. With construction not scheduled until 2027, there would be ample opportunity for an artist to collaborate with the design team and explore different production methods for the guardrails or signage elements. After discussion about the potential for incorporating interpretive elements about the wetland ecosystem and local wildlife, including a possible eagle's nest on the property, the commission voted unanimously to approve the approach of integrating art with interpretive and wayfinding signage, possibly including guardrail enhancements. ## Saying Goodbye to "Our Time" The commission then turned to a more somber task: formally deaccessioning "Our Time," a glass and stone sculpture by Bellingham artist Weston Lambert that had become a safety hazard after nearly two decades of weathering. The piece had an interesting history, originally installed in 2008 as part of a downtown rotating sculpture show before being purchased by the city for $7,000 and added to the permanent collection in 2010. Located at the prominent corner of Flora and Grand Avenue in the arts district, the 230-centimeter-tall columnar sculpture of layered stone and green glass had served as a gateway marker for years. But time and weather had taken their toll. Galligan walked the commission through the deterioration process: "A 2023 condition report by conservationist Corine Landrieu noted discoloration and scattered remnants of coatings and repair materials, and that the glass plates had suffered extensive damage and were breaking along the edges." The situation became urgent earlier in 2025 when the top portion became askew and city staff received reports about broken glass creating sharp edges. "It was able to be temporarily realigned," Galligan explained, "however, further inspection by staff and arts commissioners in the early summer of 2025 revealed additional deterioration of the piece, including chipping of the glass, resulting in sharp edges." The turning point came when Lambert himself returned to Bellingham in October to assess his early work. "He was actually pretty surprised at how long this piece had lasted," Galligan noted, "considering what he's learned from that time until now, and how much he learned even doing this piece." Lambert's recommendation was unequivocal: the piece needed to be removed and disposed of. Commissioner Phillip Freytag, who had suffered a minor injury during an earlier inspection, described the damage as "way more hammered than" he had initially realized. The artist's assessment confirmed what became visually apparent in photos — the internal cracks were too extensive for realistic repair. The commission discussed the removal process, with Lambert recommending either a telehandler or forklift to lift the piece off its base. Public Works had already agreed to handle the removal, which would essentially destroy what remained of the sculpture. The discussion touched on broader issues of collection management and communication. Commissioner Amy Chaloupka emphasized the importance of proper record-keeping for deaccessioned pieces, noting similarities with museum practices. Staff agreed to coordinate with communications professionals to manage public messaging about the removal, especially given the piece's high profile location. During public comment, resident Andrew Molotor, who had filed one of the safety reports, praised the process but urged balance between artistic respect and public safety. "I feel like there's room for some discussion somewhere in the city about balancing the needs of the artists and, you know, the respect for their art, the process around art, and things like public safety," he said, noting his concern about a "50-pound piece of rock 8 feet in the air that was just looking to fall on some kid's head." The commission voted unanimously to approve the deaccession, with staff planning to coordinate the removal and public communications carefully. ## Planning the Future: Twenty Projects in the Pipeline The final major agenda item revealed the scope of Bellingham's artistic ambitions. Galligan and Taylor Littrell presented a working list of approximately 20 Percent for Art projects in various stages of development, representing millions of dollars in future public art investments. The commission learned about projects already moving toward artist selection, including the James Baker View roundabout where a sculpture would be installed in the center island, and the Woburn triangle site where a more open-ended approach would bring shortlisted artists to walk the site and develop proposals. Several projects carried substantial budgets and civic significance. The Eldridge Bridge project envisions artistic elements integrated into bridge infrastructure spanning a gorge, while Post Point — "the one most people applied for" according to staff — would involve artwork near the heron colony with "a pretty hefty budget." Other projects reflected Bellingham's growth and infrastructure needs: the Birdswood Roundabout near Cornwall Park, various trail connectors, and integration with the library's renovation project. Library Deputy Director Bethany Hogan and community relations head Anat Bagley attended to discuss their remodeling project, though details remained preliminary as they work toward a refined scope by year's end. The presentation highlighted both opportunity and challenge. With 20 projects identified, staff faced the complex task of sequencing artist selection processes, managing budgets that fluctuate with construction costs, and coordinating with other city departments. The Storybrook Park project provided a cautionary example — cost overruns had forced the artist to absorb additional expenses, raising policy questions about when to lock in art budgets and whether they should fluctuate with overall project costs. "The budget for the art component did end up being increased on the artist side," Littrell explained about Storybrook. "Unfortunately, we weren't able to pull in additional funds to help cover those costs. So, it's brought up larger conversations amongst staff about how we should plan for contingencies in project budgets going forward." Commissioner Chaloupka noted the broader economic pressures affecting artists: "I bought metal for the first time in a very long time. It's more than doubling the amount of the last time." As commissioners reviewed the project list, several volunteered for specific jury assignments. Freytag expressed interest in the Birdswood Roundabout "just for the roundaboutness," while Cairns indicated willingness to work on the Whatcom project given her personal connections there. The Middle Fork project generated discussion about engaging local artists or students, with Chaloupka suggesting partnerships with Western Washington University design students or the Lummi Nation School, which has CNC fabrication capabilities and frequently works with youth. ## Progress Reports and Community Connections The meeting included several updates on ongoing projects. The Pacific Street Operations building's ceramic art installation by Clayton Binkley was progressing, with commissioners invited to observe the complex installation process. "This is his first piece that he's done that is completely made of ceramic," Littrell explained. "He typically works in metal. He works in wood a lot." A recent tour of Big Rock Garden Park had reconnected commissioners with that significant portion of the city's collection while strengthening relationships with the Friends of Big Rock Garden Park, a volunteer group considering formal nonprofit status to expand their fundraising and programming capabilities. The tour had provided valuable insights into maintenance needs and collection condition. As Cairns noted, simply maintaining the landscape around artworks makes a dramatic difference: "You can see the art, and the giraffe has legs. Yeah, I know, and the two talking heads... it just looks great!" ## Public Voice and Future Direction During public comment, Molotor's remarks about the "Our Time" sculpture sparked important discussion about balancing artistic process with public safety. His observation that the piece had been "shedding broken glass" for months highlighted the need for responsive maintenance protocols. Staff acknowledged the feedback and emphasized their systematic approach to safety concerns. As Galligan explained, "Safety concerns are always a priority," noting that the city's Click Fix system had enabled community members to report problems, triggering professional assessment and appropriate response. The evening concluded with administrative matters and community announcements. Commissioner Freytag announced he would not seek reappointment when his term expires in January, adding that he had "really enjoyed it, and I learned a lot about public art." This prompted discussion about upcoming elections for chair and vice chair positions and the need to recruit new commissioners. Commissioner Cairns highlighted Native American Heritage Month and promoted an upcoming indigenous arts event at Seattle's Paramount Theater, while museum staff announced upcoming exhibitions and programming. ## Adjournment and Reflection The meeting adjourned at 6:12 p.m. after efficiently addressing all agenda items. Despite missing two commissioners, the group had moved substantive projects forward while maintaining careful attention to process and community input. The session illustrated the complex balancing act of public art stewardship — honoring artistic integrity while ensuring public safety, managing limited budgets while pursuing ambitious visions, and maintaining existing collections while planning for future growth. With nearly 20 projects in development and an active volunteer commission providing oversight, Bellingham's public art program demonstrated both the challenges and opportunities of integrating art into civic life. The commission's work continues with the December meeting, where they'll further refine project timelines and potentially address leadership transition as terms expire and new members join the effort to shape the city's artistic landscape.

### Meeting Overview The City of Bellingham Arts Commission met on November 4, 2025 to review public art projects and make key decisions about art integration. The Commission approved artwork approaches for the Middle Fork Trail project and formally voted to deaccession a deteriorating sculpture downtown. ### Key Terms and Concepts **Percent for Art Program:** City ordinance requiring capital projects over $2 million to set aside 1% of their budget for public artwork integration. **Deaccession:** The formal process of removing artwork from the city's permanent collection, typically due to deterioration, safety concerns, or other factors. **Critical Areas:** Environmentally sensitive lands including wetlands and wildlife habitat that have strict development restrictions under city code. **Artist Roster:** A pre-qualified list of artists who have been vetted and can be invited to submit proposals for public art projects. **Boardwalk Structure:** Elevated walkway system used to traverse wetlands while minimizing environmental impact. **Interpretive Signage:** Educational signs that explain natural features, wildlife, or other points of interest to trail users. **Conservation Report:** Professional assessment of artwork condition that documents deterioration and repair feasibility. ### Key People at This Meeting | Name | Role / Affiliation | |---|---| | Eric Shew | Arts Commissioner (Acting Chair) | | Jody Bento | Arts Commissioner | | Phillip Freytag | Arts Commissioner | | Amy Chaloupka | Arts Commissioner | | Adonia Cairns | Arts Commissioner | | Darby Galligan | Senior Planner, Planning & Community Development | | Taylor Littrell | Development Specialist, Planning & Community Development | | Paul Knippel | Greenways Project Manager, Parks & Recreation | | Weston Lambert | Artist (Our Time sculpture) | ### Background Context The Middle Fork Trail project represents a significant new connection between Cordata Park and Stewart Road, creating a crucial pedestrian link in north Bellingham. The $22,000 art budget is relatively small by city standards, but the project's environmental constraints make it an interesting case study in integrating art within critical area limitations. The boardwalk system spanning 700 feet addresses both accessibility requirements and wetland protection. The deaccession of "Our Time" highlights ongoing challenges with maintaining outdoor public art. Originally installed as a temporary piece in 2008 during a downtown rotating sculpture program, the stone and glass column was later purchased for the permanent collection. Its deterioration exemplifies the long-term costs and complexities of public art stewardship. ### What Happened — The Short Version The Commission unanimously approved incorporating artwork into the Middle Fork Trail through interpretive signage rather than standalone sculpture, acknowledging the project's $22,000 budget constraints and environmental limitations. They then voted unanimously to deaccession "Our Time" by Weston Lambert after the artist himself determined the deteriorated sculpture was beyond repair and potentially hazardous. Staff provided updates on 20 pending Percent for Art projects, with plans to advance several through the artist selection process in 2025-2026 using the newly approved artist roster. ### What to Watch Next - Installation of the Pacific Street Operations art piece by Clayton Binkley in mid-December - Storybrook Park art installation scheduled for December 2025 - Middle Fork Trail artist selection process beginning in early 2025 - Library renovation art approach development in early 2026 - Elections for Arts Commission chair and vice chair at the December or January meeting ---

**Q:** What was the budget for artwork in the Middle Fork Trail project? **A:** Approximately $22,000 from the city's Percent for Art program. **Q:** Who is Paul Knippel? **A:** Greenways Project Manager for the City of Bellingham Parks and Recreation Department who presented the Middle Fork Trail project. **Q:** Why couldn't artwork be placed directly on the Middle Fork Trail site? **A:** The site is heavily encumbered with wetlands and critical areas, so placing artwork would reopen the environmental mitigation process. **Q:** What approach did the Commission approve for Middle Fork Trail artwork? **A:** Incorporating artwork with interpretive and wayfinding signage, possibly including embellishments to boardwalk guardrails. **Q:** What was "Our Time" made of? **A:** Layers of stone and green glass in a columnar shape, approximately 230cm high and 46cm wide. **Q:** When was "Our Time" originally installed? **A:** 2008 as part of a downtown rotating sculpture show, then purchased by the city in 2010 for $7,000. **Q:** Who recommended that "Our Time" be deaccessioned? **A:** Artist Weston Lambert himself, after inspecting the piece and determining it was structurally unstable and potentially hazardous. **Q:** How long will the Middle Fork Trail be? **A:** About 1,300 linear feet, with almost 700 feet of 10-foot-wide boardwalks and 600 feet of 8-foot wide gravel trail. **Q:** When is construction planned for the Middle Fork Trail? **A:** 2027, after final design is completed. **Q:** What was the main concern about boardwalk vandalism? **A:** The Fraser Street boardwalk experiences tagging and scraping on its top cap rails, and commissioners wanted to consider artwork that might deter such vandalism. **Q:** How many Percent for Art projects are currently in the pipeline? **A:** Approximately 20 projects at various stages of development. **Q:** What is required to trigger the Percent for Art program? **A:** City capital projects exceeding $2 million must set aside 1% of their budget for public artwork. **Q:** Who attended from the library to discuss the renovation project? **A:** Bethany Hogan (Deputy Director) and Anat Bagley (Head of Community Relations). **Q:** Which commissioner's term is ending in January? **A:** Amy Chaloupka's four-year term expires in January, and she is not reapplying. **Q:** What installation is happening this Friday at 3 PM? **A:** Clayton Binkley's large ceramic artwork at the Pacific Street Operations building. **Q:** Where will "Our Time" be removed by? **A:** The Public Works Department, using a telehandler or forklift to lift the piece off its base. **Q:** What was the condition assessment of "Our Time"? **A:** A 2023 conservation report classified it as in "poor" condition with extensive glass damage and very challenging repair prospects. **Q:** What is the significance of the Middle Fork Trail connection? **A:** It links Cordata Park to Stewart Road and eventually connects to Van Wyck Park and King Mountain, creating a north-south trail corridor. **Q:** Which Arts Commissioner was not present at this meeting? **A:** Patricia McDonnell (Chair) and Blake Hudson were absent. **Q:** What policy update is Patricia McDonnell interested in pursuing? **A:** Reviewing and updating the Arts Commission's policies and procedures, similar to alignment efforts with the museum. ---