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We believe art should be accessible to everyone in Cambridge. We’re committed to displaying public art throughout the city to transform our cityscape, engage our communities, and highlight the values upheld within our community.
Cambridge 50th Public Art
On behalf of the City of Cambridge, the Arts and Culture Advisory Committee is commissioning an artist to create an original public art piece as part of commemorating the 50th anniversary of the City.
The Committee invited applications for two community representatives who have joined the jury. This group is responsible to short list applicants and review feedback from residents. The jury includes Peter Flannery, Gary Michael Dault, Bill Woodworth, Judy Magor-Girardin and community representatives, Meegan Persuad and Abeera Atique.
The jury reviewed all artist expressions of interest and shortlisted to five finalists. These artists received an honorarium to develop a model of their proposed public art piece which will be on display for consideration and feedback at the following locations and dates below.
Comments on the finalists proposals can also be emailed to artcentre@cambridge.ca before Oct 12, 2023.
- Cambridge Centre for the Arts: September 22 – 28, 2023
- Allan Reuter Centre: September 29 – Oct 4, 2023
- W.G. Johnson Centre: October 5- 12, 2023
Finalists
| Two Smiths |
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Concept Statement: Our focus is on the river and the industries that developed along its shores. The communities in the City of Cambridge each evolved around textile mills that were established along the riverbanks, powered by the water’s flow.
We all encounter woven fabric on a daily basis: bed sheets, clothing towels, curtains, socks. We want to make fabric out of metal on a scale that feels larger than life and is configured so people can interact with it – touch, sit, and lean against it. Weaving is one of the oldest crafts in the world. Even before weaving was used to make cloth the practice of interlacing plants and branches was used to create baskets, shelter, and fences. First Nations people that first inhabited the shores of Grand and Speed Rivers would have woven willow branches and bark in all sorts of beautiful useful objects.
As blacksmiths we recognize that historically our craft was foundational to all the other trades – blacksmiths created the tools that allowed all other tradespeople to do their work. We take great pleasure in the idea of shaping a giant piece of fabric by hand. Woven fabric is made up of thousands of individual strands of fibre; communities are formed by the interwoven relationships and interactions of thousands of individuals. Folded fabric is elegant and makes a profound statement about how Cambridge evolved and speaks to its current strength and creativity. |
| Gordon Reeve |
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Concept Statement: I understand something of the importance Owaashtanong-ziibi (Ojibwe name for the Grand River) to the many tribal communities who have lived along its course for countless generations and I expect to honour that.
My sculpture invites touch and safe, easy interaction. I use stainless steel exclusively because it resonates visually with its surroundings retaining even the ambient temperature of its environment. Once fabrication is finished, I spend several weeks drawing on the sculpture with industrial grinders in what I think of as my final dialogue with the work. These textures facilitate the reflection of sunlight, animating the shimmering surfaces with silvery grey/blue reflections of the ever-changing sky. This visual mutability is a unique quality of stainless steel. I imagine a spire about 20 metres in height, 1 metre in diameter at the base with an opening, like the eye of a needle, about 6 metres in height. The bottom of the opening will provide a space for one person to sit. The main body of the spire will be burnished to enhance its light reflectance. Starting just above the top of the opening squares of multi-colour anodized aluminum or stainless will be hung around the column just above its surface using stainless steel rings. They will move freely like leaves with even the slightest air movement. The resultant sound will be like the susurration of wind stirring leaves and will be at a decibel level to complement not dominate the river sound. The long look up the spire will be dramatic and even dizzying. The spire itself will be responsive to the constant vibration from the movement of wind above and this will be felt at the base of the sculpture. It strikes me that wind’s effect, like faith, can be felt but not seen. The spire is a universal form that can
be found in architectural and spiritual expression in almost all cultures.
A complete aerodynamic performance and grounding analysis of the structure will be carried out at an early stage. This analysis will determine the stability, height, wall thickness and anchoring of the spire structure. |
| Ernest Daetwyler |
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A Grand River (Part I_IV)
Concept Statement: A Grand River consists of four sculptural works in bronze with a blue patina, formed after the Grand River. These sections will be installed on the four arches of the Main Street bridge, one sculpture on each arch. The imagery of the blue Grand River in four parts with its tributaries appears fresh, minimal and contemporary. The flow of sculptures reminds of tree branches or roots, evoking associations to arteries and or veins transporting blood, or neurological connections in the brain. The minimal and elegant sculptural works in bronze add another dimension to the historic bridge, highlighting the importance of water, the natural environment and the watershed that sustains the City of Cambridge, its citizens and all life. The sections of the artwork have an overall length of more than ten meters and breathe new life on the four arches of the two-span concrete bowstring bridge with a length of fifty-eight meters. The original Main Street bridge was designed by Archie B. Crealock and built in 1931 to carry heavy traffic. The concrete structure will easily be able to support the sculptures anchored in their place. A structural engineer will be consulted to confirm the exact, suitable places of the sculptural works to be anchored on the arches of the bridge. A Grand River, the blue bands of strings of bronze modeled in the form present in the former Cambridge communities will elevate the distinctive historic bridge landmark, a strong symbol of connection and link to our past. The Grand River in this region is located in the Haldimand Tract, a grant promising six miles on either side of the Haudenosaunee of the Six Nations of the Grand River, and is within the territory of the Neutral, Anishinaabe, and Haudenosaunee peoples. The Mohawk name for the Grand River, O:se Kenhionhata:tie means “Willow River”, for the many willows in the watershed. During the 18th Century, the French Colonists named it Grand-Riviere. The Ojibwe name for Grand River is Owaashtanong-ziibi. This proposed public art project underlines the fact, that water itself, The Grand River and its tributaries, as well as its bridges are important focal points of downtown Cambridge and its community and deserve to be highlighted and celebrated. The sculptures will celebrate the past, provide an inspirational, transformative experience to the present and hinting to the future, appearing as inspirational sketches in the sky. |
| Pierre Poussin |
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The Sheave Tower Concept Statement: The Sheave Tower, an enduring beacon of innovation and discovery, stands proudly as a testament to the rich history and indomitable spirit of our region. Rooted in Ontario’s pioneering hydroelectric legacy and renowned as one of the world’s smallest hydroelectric generating sites, has left a profound impression on me. With the Cambridge Public Art competition offering a platform to celebrate its 50th Anniversary, I am driven to create a monumental landmark that pays homage to the tower’s awe- inspiring history. The concept connects the past and present, emphasizing the Sheave Tower’s significance in the area’s development. The conceptual approach revolves around a sculpture that honours the original Sheave Tower’s shape and scale. By utilizing the tower’s distinct vertical ridges and outlines, the artwork would be created to help honour the City of Cambridge’s rich heritage and pioneering spirit. Creating an open-framed sculpture would create a piece that constantly plays with dynamic contrasts of light and shadow, positive and negative space, between day and night. From every angle, it would compel the viewer’s perspectives, weaving an optical illusion that oscillates between a sense of transparency and opacity. To further enhance the open qualities of the artwork, some facades have been kept open to highlight the tower’s unique shape, outlines and frame. Opening walls also creates a much more accessible public artwork which can be accessed from numerous directions. |
| Ted Fullerton |
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Being – Becoming Concept Statement: In considering the artistic and design considerations for this public work of art, Being – Becoming within the framework of a publicly used space and in the context of the specificity of place that will reflect on its association to Cambridge’s 50th Anniversary, it is important it fuse and integrate within its setting socially, aesthetically and conceptually. It should enhance the experience of “place” and “environment” that honours and makes symbolic reference to its setting with a lasting contemporary statement that mirrors its communities present-day and past while inspiring a future city of diversity, self worth and kindness – becoming a cognitive landmark. This proposed sculpture, Being – Becoming is significant in associating to Cambridge’s heritage located at the confluence of the Grand and Speed Rivers. It makes a direct iconic association to the City’s origins that is based on the first mill built in 1842 by Robert Dickson on the Grand River – destroyed by fire the building was replaced in 1844 by the existing building, a limestone gristmill. It also celebrates the creative spirit, tradition of invention and industry, natural beauty and cultural heritage of the city while symbolically suggesting a forward moving community that is evolving yet mindful of individual ideals and environment. These humanist ideals are reflected in the sculptures, Being – Becoming as well as the bronze figure surmounted on the iconic monolithic mill stone. This figure poised proud and looking forward – up river – associates and aligns with fundamental human values, determinedness, hard work and individual ideals within a community while implying “being” on an industrious, forward and progressive “pathway” or “wheel” to the future. Yet the figure is firmly surmounted on an iconic and solid foundation of past history. The brownish – oxidized green bronze figure will stand “triumphant” and created in a way that “identity” can be projected on to it by the viewer based on the individuals personal association supporting an inclusive perspective “of being”. To contextualize the sculpture regarding the project goals and to convey the history of its symbolic association with the site, a cast bronze didactic plaque will be placed at the base of its concrete plinth at a 45 degree angle. As a result this sculpture will take on a social connection within its aesthetic and breadth of interpretation allowing a “humanist” deliberation thus facilitating a work of art that has ongoing relevance to place while making reference to a historical past and an evolving future. It must symbolically suggest a forward moving community that is progressive yet mindful of individual ideals and environment. |
A report will be provided to the Mayor and Council later this year when a final selection will be made. The awarded artist will make final revisions and installation will be scheduled in 2024. Proposed locations are subject to change based on jury's selection, required permits and discussions with artists.
For further details on the process and criteria please see the Expression of Interest.
Digital Light Projections Shows
In 2018, the City of Cambridge installed a digital projection system to display light shows on the facade of the Old Post Office building located at 12 Water Street South. These shows have quickly become a community attraction and run nightly (Thursday to Sunday) throughout the Spring, Summer, Fall, and Winter Holiday Season. Content is scheduled to change seasonally and is appropriate for all ages.
Thank you to the Tourism Relief Fund for the funding that allowed for new creative content that can be used now and into the future!
Tune your car radio to FM 92.5 to listen to the music that has been choreographed with the show.
Please note: Some shows may have strobe light type effects that may be disorienting to some residents.
| Content Type | Start Date | Days Running | Times |
|---|---|---|---|
| Summer Show | June 29, 2023 | Thurs - Sun | 9pm 9:30pm |
| Conestoga College Student Content 2020, 2021, 2022 | August 3, 17, 31 | Thurs - Sun | 8:30pm 9pm, 9:30pm |
| Fall Show | September 14, 2023 | Thurs - Sun | 8pm, 8:30pm 9pm, 9:30pm |
| Remembrance Day | November 11, 2023 | Sat | 7pm, 7:30pm 8pm, 8:30pm |
| Christmas Holiday Show | November 12, 2023 | Thurs - Sun | 7pm, 7:30pm 8pm, 8:30pm |
| Winter Show | January 4, 2024 | Thurs - Sun | 7pm, 7:30pm 8pm, 8:30pm |
Cambridge Sculpture Garden
Located on Grand Avenue, between Main and Concession streets, the Cambridge Sculpture Garden is in the heart of downtown Galt City Centre. The garden features temporary and permanent sculptures along the river walk.
Indigena domain
In 2008, artist and winner of a national competition, Stephen Cruise, created the indigena domain public art in front of Cambridge City Hall. This piece of work is a polished granite sculpture, honouring the founding communities of Galt, Preston, Hespeler and Blair.
Public Art Policy
In 2010, the City of Cambridge approved the Public Art Policy. The Policy includes starting a Public Art Reserve Fund through contributions equal to one per cent of capital construction budgets.
River Walk
In 2011, the Region of Waterloo, the cities of Kitchener, Waterloo and Cambridge, the Cambridge Sculpture Garden and the Cambridge Libraries and Galleries started a joint project called Extraordinary Spaces. The project is a series of brochures about public art locations across the Region. Working closely with the local company Design Changes, the project produced the River Walk brochure from local residents and visitors to enjoy some of Cambridge's public art.