Public Art – Hilltown, Co Down Expression of Interest / Tender Brief

Home , Annaclone, Annalong, Ballynanny (Annaclone), Castlewellan, Corbet, Mayobridge

Public Art – Hilltown, Co Down

Expression of Interest / Tender Brief

The Mourne Heritage Trust is requesting expressions of interest for a piece of public artwork from experienced and suitably qualified artists or design teams. The public artwork will be located in the village of Hilltown within the Mourne Area of Outstanding Natural Beauty, Co Down. The total budget available is £15250 (inclusive of VAT where applicable).

The deadline for receipt of expressions of interest is 4 pm on Friday 2ndJanuary 2015. Late submissions will not be accepted.

All submissions shall be written in English and should be posted in hard copy.

Applicants are requested to read the full contents of this document carefully as it contains important information about the Expression of Interest Application Process and the terms of reference.

Section Contents Page

Number

1. APPLICATION PROCESS 3

2. BACKGROUND: MOURNE PUBLIC ART PROGRAMME 3

3. ARTIST’S BRIEF 5

4. PUBLIC ART SELECTION PANEL/STEERING GROUP 7

5. STAGE 1 EVALUATION OF ARTIST / EXPRESSION OF INTEREST 8 SUBMISSIONS

6. BUDGETS, FEES AND EXPENSES FOR SHORTLISTED ARTISTS 9

7. ARTIST/DESIGN TEAMS RESPONSIBILITIES 10

8. MOURNE HERITAGE TRUST RESPONSIBILITIES 11

9. PROJECT TIMELINE 12

10. OWNERSHIP, INDEMNIFICATION AND INSURANCES 12

11. CONTRACTUAL ARRANGEMENTS 12

12. SUBMITTING AN EXPRESSION OF INTEREST 13

13. FURTHER INFORMATION 14

APPENDICES 15

APPENDIX 1A: Artist / Organisation Details 16

APPENDIX 1B: Insurance / Health and Safety 17

APPENDIX 1C: Experience 18

APPENDIX 2: ASSESSMENT CRITERIA 20

APPENDIX 3: MOURNE PUBLIC ART PROGRAMME 21

APPENDIX 4: FACILITATOR’S REPORT 30

1.0 APPLICATION PROCESS

Stage 1: Expressions of Interest

Expressions of Interest are sought from artists (or a team of collaborating artists) to deliver a piece of Public Art. Shortlisting will be based on the information provided (see Appendix 1A – 1C). Please read Appendices 1A, 1B and 1C carefully and comply fully with the requirements.

The deadline for receipt of applications is 4pm on Friday 2nd January 2015. The selection panel will consider submissions received by this deadline and select up to three artists to go forward to Stage 2 of this process.

Stage 2: Proposal

£300 will be made available to up to three artists / design teams who will be invited to present their proposals to the selection panel. The proposal must include: sketch designs, visualisations and / or a maquette as well as an explanation of the concept for the artwork, how it relates to our theme and how the artist / design team would approach its design, fabrication and installation. Details of maintenance requirements and lifespan expectations should also form part of the presentation.

The artist / design team must demonstrate how the work can be implemented within the allocated budget and details of the anticipated duration of the project with timescale broken down into research, production and delivery. The selection panel aims to select one artist / design team to undertake the commission.

The community of Hilltown will be at the heart of this project and the selected artist / design team must demonstrate how they will work with the community to develop a sense of ownership / pride in the piece, the environment and, most importantly, help create a shared space for all. Therefore the artist / design team must also outline the approach they will take to engage and work with the local community and showcase the successful project.

Selected artists / design teams must submit their presentations to:

Mandy McAvoy, Sustainable Tourism Officer, Mourne Heritage Trust, Unit 3 Cornmill Quay, Annalong Marine Parade, Annalong, Co Down, BT34 4QG before 4pm on Friday 2nd January 2015. Submissions should be marked “HILLTOWN PUBLIC ART”

2.0 BACKGROUND: MOURNE PUBLIC ART PROGRAMME

The Mountains of Mourne and SlieveCroob, together with the surrounding countryside and coast, is one of the most picturesque landscapes in Ireland. The Mourne Mountains contain 12 peaks over 2000 feet tall and include SlieveDonard, Northern Ireland’s highest mountain. Uniquely for a mountain range, most of the high summits are grouped together in a compact area only seven miles broad.

This area has provided inspiration for many artists. For example, Percy French was inspired by the beautiful landscape and this was captured in the words of his famous song “Where the Mountains of Mourne sweep down to the sea”. The Mountains of Mourne are also said to have been the inspiration for C S Lewis’ magical land of Narnia.

This project is the final stage of the Mourne Public Art Programme (Appendix 3) which has already installed 10 pieces of art across the Mourne Area of Outstanding Natural Beauty - the Mourne Public Art Trail will provide an interesting and innovative means of interpreting the landscape/culture/heritage of the area whilst helping to disperse visitors across the area, allowing more marginalized communities to benefit from tourism and thereby stimulating economic development.

2.1 The Mourne Area of Outstanding Natural Beauty (AONB)

The Mournes were first designated as an Area of Outstanding Natural Beauty (AONB) in 1966. In 1986, however, the AONB designation was extended to include the Mourne Mountains, SlieveCroob, their farmed foothills and coast. This designation brings a commitment to safeguard the National beauty, wildlife and historic heritage whilst at the same time promoting its enjoyment to the public.

At the heart of the AONB is the range of mountains, which gives the area its name and image. These mountains are unique because their peaks are grouped closely together, stretching 24 kilometres from Newcastle to Rostrevor, sweeping down to the sea, at both places.

Not only one of Ireland’s most beautiful mountains ranges, the Mournes are also probably the best known, thanks to Percy French and his famous song. However, the AONB extends much beyond this upland core to embrace a wide range of hill, lowland and coastal landscapes. Although relatively small in area, the Mourne AONB combines the stunning scenery of mountains, coast, farmed drumlin and hill country, with a diverse range of habitats.

A range of activities including farming, forestry, fishing, mineral extraction, water supply, tourism and recreation give the countryside and its settlements their distinctive character, provide local employment and influence the quality of life for its inhabitants.

The mountains, countryside, coast and settlements of Mourne comprise a diverse resource of immense importance in respect of their landscape, wildlife, built and culture heritage. It is vital that Mourne is conserved and managed to safeguard these values, traditional industries and national resource.

2.2 Facilitator’s Report

As a first phase of the project the Mourne Heritage Trust developed a local steering group to help manage the process. A facilitator was recruited to carry out creative community consultation with a wide range of stakeholders in the community. She presented a report containing her findings to the steering group including possible themes for the proposed artwork. The steering group agreed ‘Meeting of The Ways’ as the theme most open to artistic interpretation. The facilitators report is attached at Appendix 4. The location for the public art is in the Square in Hilltown. See below a photo and map of the site.

3.0 ARTIST’S BRIEF

3.1 Theme: Meeting of The Ways

Hilltown is a very ancient community which has had human habitation for almost 5000 years. It nestles in a beautiful location to the eastern side of the Mourne Mountain range and is one of the highest settlements in the Mournes, making it a popular area for hill walkers. It has an ancient and vibrant agricultural community. Farming, particularly sheep farming, is still an important livlihood for local people and there is still a busy livestock market near the centre of the village.

Over the centuries Hilltown has become an important meeting point and ‘watering hole’. Formerly known as ‘Eight Mile Bridge’ (describing its distance from nearyby Newry), it was a stopping point for people travelling to and from other places, such as Newry, Downpatrick, Castlewellan, Rathfriland, Rostrevor and of course, through and over the Mourne Mountains. It was a final destination on the famous ‘Brandy Pad’, a notorious smuggling route from the coast near Bloody Bridge, over the Mournes. 18th and 19th century smugglers brought illegal contraband across the route and it was eventually distributed in Hilltown, accounting today for the many public houses that still exist! There is a sculpture located at the beginning of the Brandy Pad called ‘The Smuggler’s Head’.

Today, the Brandy Pad no longer brings smugglers and contraband to Hilltown but, instead, many walkers, who either commence or end their journey across the Mournes from here. As in the past, the site of the sculpture is still therefore a site of ‘wayfinding’ - a place for people to stop, reflect, take their bearings, move on and start new journeys or, indeed, finish a journey. As can be seen from the photo of the proposed site for the sculpture, there are still many road signs, picking out the directions for modern motorists. The proposed site is also located at the village square (now a car park behind) and, if you examine an older photo of the site, you will also see a square shaped object that local people called ‘the pump’. This served as a watering hole for travellers and their animals and also for local people during the monthly sheep fair on the site.

However, most significantly, ‘the pump’ was a very popular meeting point for local people, and entered into the community vernacular with sayings like ‘I’ll meet you at the pump’ or ‘You’ll be on the pump in the morning’ – indicating that a person had done something silly and would be exposed in the most public of places!

The artwork needs to capture the sense of this most public of places in Hilltown, as a place of confluence and merging – a ‘meeting of the ways’, not just in the physical sense, but in a metaphorical sense, a place of past and present, of memory and imagination, where people encounter each other, find their bearings and move on.

3.2 Materials

The choice of materials for all artworks is not prescriptive however, no materials deemed fragile, toxic, flammable and biodegradable or requiring the provision of extra safety precautions are likely to be suitable since the artwork is intended to be both permanent, of a high quality, safe and requiring minimum maintenance. Artists are encouraged, where possible, to consider using local materials. The steering group will scrutinise all concept proposals prior to selection in order to ascertain the environmental suitability of suggested materials.

As the art will be in a public space it should not pose any grip hazards, have sharp points, be able to trap limbs or be easily climable. Extra care should also be taken to select materials that, as far as possible, are immune to vandalism.

3.3 Project Specific Constraints

It is part of the artists brief to contact utilities companies and statutory agencies for advice in regard to nearby services i.e. electricity, water supply, gas etc. Artists / design teams should note that the site for the piece of art does not have an electricity supply. Should lighting be required, artists should only consider a robust type of solar powered lighting.

3.4 Other Considerations

In accordance with permitted planning restrictions the maximum height should not exceed four metres and artwork should not exceed two hundred cubic metres in volume. The artwork will be subject to planning approval for which the Mourne Heritage Trust will make an application and satisfy planning procedures. The successful artist will be expected to provide appropriate drawings and illustrations to allow this application. On completion of the project, the successful artist will be required to provide an engineer’s certificate to satisfy the Department of the Environment and the Steering Panel that the artwork has been designed, constructed and installed in accordance with current engineering standards and good professional practice.

3.5 Site Visit, Workshops and Public Consultation

Artists who are successful in Stage 1 should familiarise themselves with the site (see Section 6 for details of eligible expenses). The successful artist will be expected to engage with the local community to gain the feedback to the proposed piece of art and to allow the community’s input into the final design. The Mourne Heritage Trust will help organise these events and facilitate venues in consultation with the artist / design team. There may also be the requirement to attend additional meetings regarding the project, although these will be kept to a minimum and scheduled in consultation with the artist / design team. Artist’s fees for undertaking these workshops and any costs associated with these meetings shall be included in the overall fee.

4.0 PUBLIC ART SELECTION PANEL/STEERING GROUP

The selection panel is comprised of representation from the local community, the Mourne Heritge Trust, the Arts Council of Northern Ireland, the Mourne Mountains Landscape Partnership and Newry and Mourne District Council. This panel will be responsible for all short-listing and selection procedures as well as overall management of the project.

5.0 EVALUATION OF ARTIST / EXPRESSION OF INTEREST SUBMISSIONS

5.1 Shortlisting

The Public Art Selection Panel intend to shortlist artists for Stage 2. All submissions received and adhering to the submission requirements (5.2 below) will be viewed and assessed individually on their merits. At this stage artists / design teams will be assessed on the following criteria: Artistic Quality, Approach, Community Engagement and Stakeholder Engagement

5.2 Submission Requirements

Only applicants who fully complete the following:

 “Artist/Organisation Details” (form attached at Appendix 1A)  “Insurance/Health and Safety” (form attached at Appendix 1B)

AND who can demonstrate that they are suitably experienced - see “Experience” (Appendix 1C) will proceed to scoring.

In the event that an artist / design team does not fully complete and submit Appendices 1A and 1B and then fails to prove that they are suitably experienced (Appendix 1C) will be REJECTED.

5.2 Criteria

Applicants who proceed to scoring will then be evaluated on the following criteria. Appendix 2 outlines in what format and how the 4 criteria below should be addressed.

 Artistic Quality  Approach  Community Engagement  Stakeholder Engagement

5.3 Scoring System

The selection criteria shall be based on the points scoring system (see next page). The points awarded for each section will be at a value determined and agreed by the panel members between 5 (maximum) and 0 (minimum). The minimum acceptable score for each scored question is “two”. In the event that an artist /design team scores less than the minimum acceptable score in any scored question, the entire submission will be REJECTED. It is therefore essential that the artist does not omit to address any of the criteria. The scoring indicators on the following page describe the basis of how the marks are awarded.

Points Scoring System

Assessment Score Indicators

Excellent 5 The content of the Expression of Interest is excellent and fully addresses the requirements of the brief. Very Good 4 The content of the Expression of Interest is very good and fully addresses the requirements of the brief. Good 3 The content of the Expression of Interest is good and addresses the requirements of the brief. Satisfactory 2 The content of the Expression of Interest is adequate and addresses the requirements of the brief. Poor 1 The content of the Expression of Interest is poor and fails to address the requirements of the brief. Nil Response / Unacceptable 0 No response or unacceptable information provided.

These scores will them be weighted in accordance with the scoring matrix below to calculate an overall score for each criteria.

Weighted Scoring Matrix

Criteria Weighting Artistic Quality 50

Approach 30

Community Engagement 10

Stakeholder Engagement 10

Total Maximum weighted score available 100

6.0 BUDGETS, FEES AND EXPENSES FOR SHORTLISTED ARTISTS

6.1 Up to 3 artists / design teams short-listed to undertake Stage Twowill be paid £300 to cover the costs of developing a detailed design proposal including sketch designs, visualisations and maquette. This fee will include any postage or courier costs involved in transporting the maquette. Payment will be made on submission of an invoice. All travel costs to facilitate and expenses associated with site visit(s) and presentation to the selection panel are included in this fee.

6.2 The successful artist / design team will be responsible for the design and creation of the artwork including foundations and final installation within the budget of £15250 (inclusive of VAT where applicable) and will include any further artists design fees, expenses, site preparation costs, foundation costs, materials, insurances, production and manufacturing, engineer’s reports, any relevant consultations and installation fees, transport costs, and other necessary fees in order to finalise the installation of the public art piece. The successful artist / design team will be required to sub-contract and project manage all associated work for the public art piece and to liaise with the relevant statutory bodies and the Mourne Heritage Trust in providing information required to secure all required statutory approvals such as planning and technical approval.

6.3 The overall fee also must include any re-landscaping of the site and additional lighting that the artwork may require.

6.4 Short-listed artists/ design teams will be expected to submit an itemised project budget that identifies all costs. It must cover all disbursements, design, documentation, materials, foundation costs, manufacturing, delivery to the site and installation of the finished art work, including all health and safety requirements.

7.0 ARTIST / DESIGN TEAM’S RESPONSIBILITIES

The successful artist / design team will be responsible for:

 Liaising with the Mourne Heritage Trust on all aspects of the project;

 Providing all necessary drawings, visuals, elevations and other such drawings required to secure statutory planning approvals;

 Providing a detailed timetable / schedule of work;

 Documenting the project design and specifications;

 Supplying and funding all materials required for the project, including foundations and artwork materials as well as all transport and works safety requirements;

 Ensuring appropriate work site safety procedures are undertaken throughout the preparation of the foundations and installation of the public art;

 The fabrication and installation of the works;

 The provision of a structural enginee’s report for foundations and final installation, satisfying planners and the Mourne Heritage Trust that the foundations and artwork comply with current engineering standards;

 Completing the project within the timeframe and budget provided;

 Contributing to marketing activities such as photo shoots, allowing use of concept drawings, providing artist statements and any other reasonable activity requested by the group to promote the project;

 Contributing to reporting and evaluation at the conclusion of the commission;

 Attending Public Art Steering Group as required and updating the group on project devt.;

 Providing the group with any operating and maintenance instructions and costs;

 Provision of an integrated artist’s statement as part of completed art work;

 A lifecycle maintenance budget for the commission.

8.0 EMPLOYER’S RESPONSIBILITIES:

The Mourne Heritage Trust is responsible for:

 Monitoring the project through the Public Art Steering Group;

 Providing the artist / design team with support through the Mourne Heritage Trust and the Public Art Steering Group;

 Overall Project Management and supervision;

 Drafting the Commission Agreement and Contracts;

 Primary artist / design team contact;

 Providing community contacts;

 Project marketing and reporting;

 Advising the artist / design team if in the future the art work needs to be relocated or intentionally modified, or decommissioned;

 Facilitating community relationships as requested and as suitable;

 Overseeing the budget for the project;

 Obtaining planning permission. 11

9.0 PROJECT TIMELINE

Event Day &Date Advert for expression of interest Week Commencing 17 November 2014 Deadline for receipt of Expression of interest 4pm Friday 2 January 2015 Shortlisting of artists based on expressions of Week Commencing 5 January 2015 interest Invitation letters to shortlisted artists to move to Week Commencing 5 January 2015 Stage 2 (and letters to unsuccessful artists) Deadline for detailed design phase of short listed 4pm Friday 6 February artists Presentation of detailed design proposals Week Commencing 9 February 2015 e.g.maquettes to selection panel & artist interviews Successful artist / design team appointed Week Commencing 9 February 2015 Contract issued following planning permission By end March 2015 Project Completion End June 2015

10.0 OWNERSHIP, INDEMNIFICATION AND INSURANCES

The Public Artwork becomes the property of the landowner after installation by the artist /design team. A contract for this project will provide for the appropriate care and maintenance of the work, artist’s copyright and acknowledgement.

The winning artist shall assign to the Mourne Heritage Trust all Intellectual Property Rights in the material submitted in respect of the design contest, and shall waive all moral rights relating to such material. The artist / design team shall not reproduce, publish, or supply any such material to any person other than to the Mourne Heritage Trust without prior approval.

The artist / design team shall indemnify the Mourne Heritage Trust against all claims, proceedings, actions, damages, legal costs (including but not limited to legal costs and disbursements on a solicitor and client basis), expenses and any other liabilities arising from or incurred by the adoption by the artist / design team in design contest submission, any material which involves infringement or alleged infringement of Intellectual Property rights of a third party.

11.0 CONTRACTUAL ARRANGEMENTS

It is intended to issue a contract for the detailed design, production, delivery and installation of this work. The successful artist will be engaged by the Mourne Heritage Trust and the payment schedule will be in the form of staged payments to be agreed prior to the development of contract.

12.0 SUBMITTING AN EXPRESSION OF INTEREST (Expression of Interest)

The Mourne Heritage Trust invites the submission of a completed Expression of Interest from suitably qualified and experienced artists / design teams for undertaking the provision of a public artwork. Please note if arts organisations or design teams are applying you must submit relevant information on the experience of the artists to be involved in the project including their CVs.

The available funds of £15,250 (inclusive of VAT where appropriate) are also to allow for all necessary design, treatment of surfaces, installation, the erection and all fixings to secure the feature and all making good to the surrounding surfaces and artwork disturbed during installation or development of the works.

The artist / design team shall be deemed to have satisfied him / herself before submitting their response as to the accuracy and sufficiency of the information contained therein.

Submission requirements for Stage 1 are detailed in Appendix 1. Please read these carefully.

All submissions are to be sent to:

Mandy McAvoy Mourne Heritage Trust Unit 3 Cornmill Quay Annalong Marine Park Annalong Co Down BT34 4QG

SUBMISSIONS SHOULD BE MARKED “HILLTOWN PUBLIC ART”

The application must be submitted no later than 4 pm on Friday 2 January 2015.

Please note that at times over the Christmas break (between Wed 24th December 2014 and Thurs 1 January 2015) the offices of the Mourne Heritage Trust may be closed and we cannot, therefore, ensure that receipts are issued for hand delivered submissions. Please also ensure that submissions are posted/hand delivered in an A4 sized envelope. This will ensure that they fit securely in our post box.

Applications must be in English and prices in £ Sterling and be inclusive of VAT where appropriate.

Information submitted shall be checked for completeness and compliance with the instructions before evaluation.

It is the responsibility of applicants to obtain for themselves, at their own expense, any additional information necessary for the preparation of their submissions.

13.0 FURTHER INFORMATION

13.1 Requests for clarification

All requests for clarification or further information in respect of this Expression of Interest, or any questions about the procurement, should be submitted by email to Mandy McAvoy, Mourne Heritage Trust ([email protected]). No approach of any kind in connection with this commission should be made to any other person within, or associated with the group or by any other means.

If the Mourne Heritage Trust considers any question or request for clarification to be of material significance, both the question and the response will be communicated, in a suitably anonymous form, to all artists / design teams who have responded or have expressed an interest, or those that show an interest before the Expression of Interest return date and time (4pm Friday 2 January 2015).

Both successful and unsuccessful applicants will be notified in writing by the group.

13.2 Right to Issue Further Instructions

During the procurement period, the Mourne Heritage Trust reserves the right to make changes to the Expression of Interest documentation and any such changes shall be accepted by the applicants and incorporated into the finalised submission.

13.3 Expenses and Losses

The Mourne Heritage Trust shall not be responsible for, or pay for, any expenses or losses that may be incurred by any applicant in preparing their submissions or abiding by the conditions outlined herein.

13.4 Confidentiality

All information supplied by the Mourne Heritage Trust in connection with this competition shall be treated as confidential by applicants, except that such information may be disclosed so far as is necessary for the purpose of obtaining sureties, guarantees and tenders necessary for the preparation and submission of the Expression of Interest or by operation of law.

13.5 Ownership of Application Documents

The documents comprising this application shall remain the property of the Mourne Heritage Trust. All Public Art Work and publications become the property of Newry and Mourne District Council after installation / completion.

13.6 Return of Specified Documents

Failure to return all specified documentation by the closing date, or such subsequent date as may be prescribed, may result in the submission not being considered.

13.7 Qualified Submissions

No amendments to the Expression of Interest documents issued will be considered valid, except as shall be explicitly required or admitted (in writing) by the Mourne Heritage Trust, qualification of submissions may result in rejection thereof.

13.8 Right to request additional information

The Mourne Heritage Trust reserves the right to require any applicant to provide additional information supplementing or clarifying any of the information provided in response to the requests set out in this Tender Brief. The Mourne Heritage Trust may also seek independent financial and market advice to validate information declared, or to assist in the evaluation of the submission.

13.9 Evaluation Criteria

Evaluation criteria and scoring mechanism are set out below at Appendix B. Only those applicants who achieve a minimum quality score of 60% may proceed to the tender stage.

13.10 Conflict of Interest

Artists will be required at all times to adhere to high standards of propriety, including impartiality, integrity and objectivity. This means that any private, voluntary, charitable or political interest that might be material or relevant to the work of the project should be declared. Both real and perceived conflicts of interest must be declared, as the appearance of conflict could be as damaging as the existence of actual conflict.

It is important that all potential conflicts of interest are declared at the beginning of the appointment process. All submissions will be assessed on merit and not treated more or less advantageously because of an actual or perceived conflict of interest.

13.11 Equality

The Mourne Heritage Trust is committed to equal opportunities for all and the submissions will be judged as seen, purely on merit and without prejudice.

APPENDIX 1A

Artist / Organisation Details

This form should be completed and returned with your Stage 1 Submission. Deadline for receipt of returned submissions is 4 pm on Friday 2nd January 2015.

1A Name of Applicant (or organisation) Contact name for enquiries about this EXPRESSION OF INTEREST:

Job Title:

Address and Post Code:

Telephone number:

Fax number:

E-mail address: (if available)

Website address (if any):

Company Registration number (if this applies):

Date of Registration: (if this applies)

Registered address and post code if different from the above:

Are you registered for VAT?

If so, please provide Registration number:

Are you (please tick): i) a limited company?

ii)a partnership/ team?

iii) a self- employed sole trader

Are you acting as the lead artist in the partnership/ artist team? (Yes/No)

APPENDIX 1B

Insurance / Health & Safety

The successful artist / design team will be required to satisfy the panel that adequate safety provision will be made and that appropriate insurance cover will be in place.

This form should be completed and returned with your Stage 1 Submission. Deadline for receipt of returned submissions is 4 pm on Friday 2nd January 2015.

1B INSURANCE The minimum amount of Public and Products Liability Insurance Attach required is £1m for each and every claim. Please enclose copy Certificate of current certificate. If you do not have this level of indemnity you will be required, upon award of contract, to put this in place. The minimum amount of Employer's Liability Insurance required (if Attach appropriate) is £5m for each and every claim. Please enclose Certificate copy of current certificate. If you do not have this level of indemnity you will be required, upon award of contract, to put this in place. Please confirm whether you would be willing to take out the appropriate level of insurance cover to comply with above contract conditions if you are successful in winning the contract? (Yes/No)

1B HEALTH & SAFETY Does your organisation have a written health and safety at work policy? If “Yes” please enclose policy (Yes/No) If “No”, please explain why:

APPENDIX 1C

EXPERIENCE

The successful artist / design team will be required to satisfy the panel that they are suitably experienced.

A) and B) below should be addressed as outlined and returned with your Stage 1 Submission. Deadline for receipt of returned submissions is 4 pm on Friday 2nd January 2015.

A) Experience of Working in the Public Realm

Applicants must demonstrate a full understanding of problems which may be encountered whilst working in a busy operational public area and the approach to minimising the impact on operations of traffic and residents when carrying out the works. Outline relevant lessons learnt from other projects to this commission that demonstrate your understanding of public area working.

Applicants must submit a statement demonstrating their experience of working in the public realm. Please limit your response to 600 words.

B) Relevant Experience and Past Clients’ Record

Applicants must provide details for up to 5 examples of work in the public realm which have been undertaken in the last 10 years. Please list relevant projects using the format on the next page which includes the following information; commissioner, commissioner contact name and telephone number, commission period, value, site location and commission description. One of your examples should relate to a commission worth at least £15K.

Please limit your response to 1 side of A4 paper (font size 11) per commission. Please also include 2 images per project (maximum size: 1 side of A4 per image).

Do not include generic lists or projects which are not for similar works.

The Mourne Heritage Trust reserves the right to contact the contact names provided.

Commissioner:

Contact Name:

Contact Telephone Number:

Commission Period:

Commission Value:

Description of Commission including site location and final piece:

APPENDIX 2

ASSESSMENT CRITERIA

ASSESSMENT CRITERIA / REQUIREMENT SPECIFIC QUESTIONS

Artistic Quality

Artistic quality will be judged on images Please include 2 images per project for 5 provided for 5 examples of relevant past examples listed in 1C above. Maximum work (experience and past clients). size per image is 1 x A4 page.

Approach

Provide a document outlining the approach taken to the delivery of 3 of the artworks previously outlined under ‘experience’ (appendix 1A)

Community Engagement

With reference to up to 5 completed Please limit your response to 600 words artworks, please demonstrate how you have font size 11. worked with and engaged key stakeholders.

Stakeholder Engagement

With reference to up to 5 completed Please limit your response to 600 words artworks, please demonstrate how you have font size 11 worked with and engaged the community.

APPENDIX 3

MOURNE PUBLIC ART PROGRAMME

MOURNE PUBLIC ART

PHASE 1

“Spins the Reel, Rings the Wheel” Location: Corbet Lough, Banbridge

This piece focuses on the industrial heritage and cultural heritage of the linen industry. Corbet Lough was created to aid in the process of linen production in 1836 by the Bann Reservoir Co.

The seated area is constructed from Mourne Grey Granite with a series of bronze tiles that have angler knots cast from flax fibre and rope created through a series of community workshops. The Portland Stone Column is constructed from 7 circular wheel shaped mill stones. Each stone has an oval section removed to visually create a twisting and reeling motion. The 7 oval segments that have been removed are arranged on top of the column to crown the sculpture, suggesting leaping fish or a growing flax head.

The flax seed plant appears at the top of the structure, while waves ripple and weave their way up the inner section of the column. Engraved on the outer surface of the stone column are the processes involved in linen production.

MOURNE PUBLIC ART

“The Irish Elk”

Location: Narrow Water Roundabout, Warrenpoint

Life size sculpture of an Irish Elk (or giant deer) – Megaloceros giganteus. The animal stood about 2.1 metres (6.9 ft) tall at the shoulders, and had the largest antlers of any known cervid; a maximum of 3.65m (12.0 ft) from tip top tip and weighing up to 40kgs (88 lbs). The size of Irish Elk antlers is distinctive and several theories have arisen as to their evolution. One theory was that their antlers, under constant and strong sexual selection, increased in size because males used them in combat for females; it was also suggested that they eventually became so unwieldy that the Irish Elk could not carry on the normal business of life and so became extinct. For the passing viewer, it is a reminder of evolution, time and a reminder of an age when the wilderness of the land dominated the environment.

MOURNE PUBLIC ART

“The Luck Penny”

Location: Rathfriland Market Square

The theme of the artwork is derived from the town’s connection with markets and specifically, the practice of giving back a penny for luck once a deal has been sealed. Rathfriland’s markets took place on different days for different produce – as well as farm animals such as sheep, goats and donkeys, flax and linen were also bought and sold (the Market House was originally built to trade linen). Images of the wide range of produce associated with the markets are etched into the surface, with a large bronze “Luck Penny” forming the centre piece. Interestingly, the site of the sculpture was once the site of the public toilets – so the concept of “spending a penny” is somewhat appropriate too !

“On the Way to the Fair”

Location: Clough Roundabout

Fairs were held all over Northern Ireland and, as well as trading and creating employment opportunities, they were also a social event. The farmer driving his cattle to the fair was a common sight in Clough and the surrounding area however this became less common in the late 1940s due to improved roads and a new mode of transport. The use of stainless steel brings a modern twist to this very traditional agricultural scene.

MOURNE PUBLIC ART

PHASE 2

“Tonn Ruray Sculptural Horn”

Location: Dundrum Main Street Car Park

The “Tonn Ruray” is the mythical wave associated with Dundrum. This sculptural horn evokes the forms of ancient cultures, with inspiration taken from the earliest trumpets indigenous to Ireland. The mouth piece becomes a sonic ear piece through which the actual sounds of the bay are concentrated, amplified and can be heard. The horn also has a visual aspect in that it can be used as a scope to frame the image of the bay. Historical text and images relating to the village, supplied by local community representatives, embellish this interactive piece.

MOURNE PUBLIC ART

“The Mourne Hand”

Location: Silent Valley Mountain Park

The inspiration for the sculpture has come from many sources. The Mourne granite bowl represents the Reservoir – the wedge represents the Dam. The Binnian Tunnel is the arch, which is the same size as the actual tunnel ie 7ft.

The other Trumpet like forms announce the diversity of nature to be found around the Silent Valley - the stalks are tributaries within the water catchment area. The Hand at the base is a reference to the Men of Mourne that built the wall, dams and tunnel – whose children remember them having “broad shoulders and hands like shovels”. Men of the Land.

MOURNE PUBLIC ART

“Blaeberry Sunday”

Location: Peter Morgan’s Cottage, Dromara

This piece focuses on the heritage and history of the tradition of the annual summer walk to celebrate “Blaeberry Sunday” up Slieve Croob Mountain. The stone “bas relief” is circular in shape and is compared to the “Blue Heritage Plaques” associated to famous people and buildings by the Historic Buildings and Monuments Commission. The references made within the imagery plays heavily on “marking the end of summer growth and the beginning of autumn harvest”. Spread out upon a table is a large “Celtic inscribed pot and plate containing the fruits of the forest”. This reference to the past can be seen further with images of the local landscape which feature examples of “famine fields” or “lazy beds” which are common in the area. The Mournes are peppered with various stone walls and terrains and these textures are to be found throughout the stone carving, suggesting and referencing the viewer the very depth of the geology that they will encounter on this auspicious walk. The text that can be read on the plaque is from the poem “Blaeberry Sunday” composed by Mr Pat King.

PHASE 3

“The Smuggler’s Head”

Location: The Bloody Bridge

The sculpture consists of two columns which are similar to the wind and water shaped rocks of the coastal area of Bloody Bridge. The Smuggler’s Head refers to local stories of smuggling in the area. Between the two rocks, from a certain position, the head of the smuggler becomes visible. The concept behind the piece is that a smuggler must be almost invisible and that to survive he must almost become part of the landscape

“From the Bridge to the Hills”

Location: Kenlis Street, Banbridge

This piece of artwork has taken as its concept s stylised representation of the route of the River Bann; from the Banbridge to the river’s source at Slieve Muck (Pig Mountain) in the heart of the Mourne Mountains. The artwork creates a visual link between the busy market town and the hills beyond to the South, and, as such, signifies Banbridge as a gateway to the Mournes. The bronze flax flowers represents the linen industry which was prevalent in the area.

“Square Days and Fair Days”

Location: Upper Square, Castlewellan

This artwork celebrates the history of Castlewellan as a centre for markets and hiring fairs and the town’s association with traditional music. It depicts a parade of animals and produce led by a fiddler and a dancing girl “to market to market to but a fat pig home again, home again, jiggidy jig”. The sow is taken from the famous photograph of the “Old Ulster Pig” in Castlewellan fair.

APPENDIX 4

FACILITATOR’S REPORT

Final Research and Consultation Report Hilltown Public Art Project

RESEARCH AND CONSULTATION REPORT HILLTOWN PUBLIC ART PROJECT

Prepared by Cathie McKimm Cultural Management Services

Final Research and Consultation Report Hilltown Public Art Project

CONTENTS

1. Consultation Brief

2. Methodology and Timeline

3. Background and Context

4. Key Periods in Hilltown History

5. Hilltown in Folklore and Legend

6. Key Findings and Themes

7. Recommendations

APPENDICES

Appendix 1 CV Cathie McKimm, Cultural Management Services Appendix 2 List of groups and individuals consulted Appendix 3 Hilltown Development Plan 2012 Appendix 4 Some online Tourism References Hilltown (Excluding accommodation)

Final Research and Consultation Report Hilltown Public Art Project

1. Consultation Brief

Cultural Management Services was invited by Mourne Heritage Trust to quote for research and consultation services for a public art project in Hilltown in September 2014 and was appointed in early October. (See Appendix 1 CV, Cathie McKimm, Cultural Management Services).

The brief, was set out in the Quotation document as follows:

‘The Mourne Heritage Trust wishes to recruit an experienced artist/facilitator to carry out community consultation and creative engagement in Hilltown, Co Down. The facilitator will develop ideas and themes for artwork, which is reflective of the Hilltown area. The outcome will be a report collating information for inclusion in the brief for a new piece of public art in the Square in Hilltown’. (Quotation Brief Page 1)

‘The remit of the facilitator/artist will be to creatively engage with key groups and individuals in the Hilltown area, to investigate potential themes for the artwork, to oversee monitoring and evaluation of workshops and to ascertain all the considerations to inform the development of a brief for the public artwork.

The facilitator and/or artist will produce a report on the findings of the above, with recommendations, and present to the project steering group. This report will include: the themes and outcomes of the workshops, monitoring and evaluation information on participants and any considerations informing the development of the brief’. (Quotation Document Page 2)

2. Methodology and Timeframe 2.1 Methodology

The methodology adopted by CMS to undertake the brief was as follows:

(a) Meeting with Camilla Fitzpatrick, Mourne Heritage Trust and Clare Shiels Co. Down Rural Community Network to discuss the brief, agree stakeholders to be targeted and set dates for consultation days. (b) Desktop research – this involved an exploration of Hilltown and the Hilltown area, its history, culture, architecture, social life and tourism activities and potential. It also included a review of the Hilltown Development Plan 2012. (c) Consultation with target groups relevant to the area. See Appendix 2 for details of groups consulted on 21st October 2014. (d) A public consultation evening (including individual residents) and for all those already contacted at (c). A public presentation was given detailing and testing initial findings and themes followed by an open discussion. (See Appendix 2). (e) Writing up draft report of findings with recommendations and presentation to Project Steering Group and finalisation following the meeting.

Final Research and Consultation Report Hilltown Public Art Project

2.2. Delivery Time-frame

ACTIVITY Date

Project Initiation Meeting to establish groups/stakeholders and 9/10/14 scope of project, access documentation and contact details of groups/stakeholders Revised Project Initiation Document forwarded to Mourne 10/10.14 Heritage Trust with agreed and finalised methodology and consultation dates. Focused Desktop research into Hilltown history, culture and 10/10/14 – tourism activities. 29/10/14 All day consultation with targeted groups and stakeholders 21/10/14 identified at Project Initiation Meeting. Public Consultation including presentation and testing of initial 27/10/14 findings/gathering more feedback and material. Writing up of draft report with recommendations. By 5/11/14 Presentation of draft report to Project Steering Group. 10/11/14 Final corrections/revisions following meeting with Project 13/11/14 Steering Group and submission of final report

3. Background and Context 3.1 Mourne Public Art Programme

This project is the final stage of the Mourne Public Art Programme, which has already installed 10 pieces of public art across the Mourne Area of Outstanding Natural Beauty. The final piece will be installed in Hilltown and has received funding from the Arts Council of Northern Ireland and Mourne Mountains Landscape Partnership.

The Mourne Public Art Trail has been conceived as an interesting and innovative means of interpreting the landscape/culture/heritage of the Mournes whilst helping to disperse visitors across the area, allowing more marginalized communities, such as Hilltown, to benefit from tourism, thereby stimulating economic development.

Figure 1: ‘The Smugglers Head’ Sculpture at Bloody Bridge

Final Research and Consultation Report Hilltown Public Art Project

3.2 Hilltown Demographics

Hilltown is a village in Co Down situated between Newry and Castlewellan/Newcastle with a population of 899 people in the 2001 census (statistical data for settlements from 2011 census have not yet been published at the time of this report).

The village is located in the Newry and Mourne District Council area and is part of the larger Parish area of Clonduff, situated in the barony of Upper Iveagh. The parish borders five parishes in the diocese of Dromore, namely: Kilbroney, Mayobridge, Drumgath, Annaclone and Lower Drumgooland, and two in the diocese of Down & Connor, Kilcoo and Upper Mourne.

The village is also situated on the River Bann and is one of the highest settlements nearest to the Mournes. According to the Ordnance survey, the Parish of Clonduff has 21,241 statute acres, of which 889 are mountain, with a portion of bog, and the remainder good arable and pasture land. Eagle Mountain, at the southern extremity of the parish, is 1084 feet above the level of the sea.

3.3 New Village Development Plan 2012

Newry and Mourne District Council have recently created a village plan as part of the Northern Ireland Rural Development Programme (NIRDP) 2007-2013 which was launched to build capacity within local communities and provide support for community economic development in the most disadvantaged rural areas. A core principal of the programme is to broaden rural development in Northern Ireland so that communities are involved in the design and delivery of projects and programmes that tackle local problems and improve quality of life. The Village plan was conducted by URS Infrastructure & Environment UK Limited and recommended the following for Hilltown:

(a) New Riverside Walking Route (b) Traffic calming, signage and gateways (c) New Children’s Play Park (to the East of the Village near the Castlewellan Road. (d) Refurbishment of Church of Ireland Building located at town square (near sculpture site). (e) New football pitch. (f) New street lighting.

Final Research and Consultation Report Hilltown Public Art Project

4. Key Periods in Hilltown History 4.1 The Hills

The village takes its name from the Hill family of Hillsborough, descendants of Sir Mayses Hill, a Devonshire man who came to Ireland in the army of the Earl of Essex 1573 and settled in ‘the lands of Iveagh’ in the Parish of Clonduff. The family eventually increased their estate over time until it reached from Lisburn to the Mourne Mountains. Wills Hill erected a market house, now the Downshire Arms Hotel, and a number of houses as well as the Protestant Church of St. John’s in 1766. (Former Church of Ireland building, now empty and situated on the square behind the site for the new art work).

Figure 2: Downshire Arms, Hilltown

4.2 Ancient History

However the village and Parish of Clonduff has a very ancient history that starts long before the arrival of the Hills. Situated in the townland of Carcullion, it was formerly called ‘Eight Mile Bridge’, describing its distance from the town of Newry.

There are nearby pre-historic sites such as the Goward Dolmen that dates back to around 2,500 BC and is situated around 2 miles from the village. It has also become known in more modern times, as ‘Pat Kearney’s big Stone’ after a gentleman who lived beside the stone became its unofficial curator. Across the Bannvale footbridge in Ballymaghery, to the left of the river, are the remains of an earthen mound locally called `The Mount’- a relic of the Bronze Age. 4.3 St Patrick and Christianity

The area has strong links with St. Patrick. A tradition associated with St. Patrick and his missionary work states that he preached on the Hill of Tamery, which was within the early Christian parish of Clonduff. The ancient monastery of Clonduff, which was founded from the Bangor Monastery, was situated in the townland of Ballynanny. Its first Abbot was St. Mochommoc of the seventh century who died in A.D. 655. The monastery was visited by King John of England during his Ulster tour in 1210 and was later suppressed under the Dissolution of the Monasteries.

Final Research and Consultation Report Hilltown Public Art Project

4.4 The Penal Period

The Mass Rock

During the penal years the catholic parishioners of Clonduff used the Mass Rock on the mountain called `Alt an tSagairt’ – `Priest’s Mountain’. The stone stands at a vantage point of 1,362 feet above sea level in a remote and inaccessible part of the Mourne range. The mass rock is still talked about by local people.

Figure 3: The Mass Rock

Smugglers and Highwaymen

During the penal period the mountain path across the Mournes that joined the coast with

Hilltown became known as the Brandy Pad. The popular route was used for transporting contraband from the incoming ships inland to Hilltown where the merchandise was eventually distributed. Hence many Rock, public Mourne houses Mountains were established in Hilltown and today many of them remain, as does the Brandy Pad, which now is popular with walkers.

Figure 4: The Brandy Pad, Mourne Mountains

Final Research and Consultation Report Hilltown Public Art Project

Count Redmond O’Hanlon – ‘The Irish Robin Hood’

Redmond O'Hanlon was a 17th-century Irish highwayman, born in Poyntzpass, County Armagh, the son of Loughlin O'Hanlon, rightful heir to the castle at Tandragee. He was an important figure in the Irish Rebellion of 1641. After the Rebellion of 1641, he joined the Irish Catholic rebel forces and served under Owen Roe O'Neill at the Irish victory at the Battle of Benburb in 1646 but fled to France after the defeat of the Irish Confederation in the Cromwellian conquest of Ireland 1649-53. O'Hanlon's family lands were confiscated under the Act for the Settlement of Ireland 1652.

He spent several years in exile as an officer with the French army and was awarded the title of Count of the French Empire. He returned to Ireland, around 1660, after the Restoration of King Charles II of England. After realizing there would be no restitution of his family's lands, he took to the hills around Slieve Gullion and became a notorious highwayman or rapparee, as they were known then.

He was eventually killed; murdered in his sleep by his foster brother and close associate Art MacCall O'Hanlon; at Eight Mile Bridge near Hilltown, County Down on April 25, 1681. As was the custom, there were gruesome displays of his body parts including his head, which was placed on a spike over Downpatrick jail.

O’Hanlon has inspired many artists, including William Carleton who wrote an historical tale about his many exploits and Tommy Makem who wrote a song about the highwayman called ‘Count Redmond O’Hanlon’

4.5 The Linen Industry and John O’Neill

The first site of the Linen Industry in the Upper Bann Valley was at Hilltown. A scutch mill and a bleach green on the banks of river Bann were established by John O’Neill who was a descendant of the O’Neills of Clandeboye.

John O’Neill is buried at the old parish church graveyard in Ballyaughian. This is also the burial place of the Magennis’ who in earlier times, before the plantation, had been one of the ruling clans in the area.

Final Research and Consultation Report Hilltown Public Art Project

5. Hilltown in Folklore and Legend

There is a rich collection of folklore and legend associated with the Hilltown and Clonduff Parish area. Much of it has been collated and recorded by Dr. Francis McPolin, a local schoolteacher and is preserved in the Ulster Museum. There was no opportunity within the time-frame and brief of this consultation to research the collection, but the following are two of the more famous stories still recalled today about the area: 5.1 The Legend of the Ox

At Cluain Daimh - The Meadow of the Ox - It is recorded that St Comghall of Bangor sent his followers to this area of Co Down to spread Christianity. They began building a church but every morning, the previous day's work would be demolished. Upon investigation, it was discovered that an ox, belonging to the local Druid came down from the Mournes each night and razed the building. One of the monks cut a thorn stick and stuck it into the ground between the ox's meadow and the new church. The stick grew into a thorn bush and the monk defied the ox to pass the thorn bush. It never did and the building of the church was completed. The area where the thorn bush allegedly grew is known as Bushtown to this day. 5.2 The Goward Dolmen and Finn McCool

The dolmen is referred to often as ‘Finn’s Finger’ and legend has it that Finn threw the stone from Spelga Dam, approximately 4 km away. Other legends report that Finn is actually buried at the Dolmen.

Figure 5: Goward Dolmen

Final Research and Consultation Report Hilltown Public Art Project

6. Key Findings and Recommendations 6.1 Findings

Based, in particular, on the research with local people via the two consultation days, and on desktop research, the following are the key findings and observations:

(a) Hilltown and the Parish of Clonduff has a remarkably strong community spirit. Local people are very active in a wide range of social, cultural and sporting activities and take a very keen interest in their neighbourhood and have a real sense of pride for their village and parish and the achievements of its citizens.

(b) There is a very strong and ancient farming community with many families involved in animal husbandry – something that is celebrated annually at the Boley Fair, and is embedded in the weekly business of the town through Hilltown Market.

Figure 6: A Boley hut built in the town square during of the annual Boley Festival

(c) As with all farming communities there is a deep connection to the land, but it seems particularly strong in Hilltown, with people negotiating and making the most of hilly poor quality land through farming, sheep (particularly blackfaced) and peat. Most of the townlands have meanings that describe the location and quality of the land. For example: Cabra: poor land; Stand: a measure of land; Mullaghmore: Big Summit; Leitrim: Grey Ridge; Island Moyle: flat dwelling place; Carcullion: rough ground with holy bushes. The 21 townlands of the Clonduff Parish have been signposted with local stone incorporating each of their names.

(d) Hilltown was and remains a market town. A sheep fair used to be held in the town square on the second Tuesday of every month, where farmers had a special hand ritual for ‘doing the deal’. There is still a weekly market in Hilltown, located now on the Rathfriland Road.

Final Research and Consultation Report Hilltown Public Art Project

(e) There is a strong tradition of folklore and traditional music and dance. A local schoolteacher Dr. Francis McPolin compiled one of Ireland’s most valued folklore collections. As set out in the previous section, there are also a lot of myths and legends about local sites.

(f) There is a strong Christian Heritage stretching back from St Patrick incorporating both Christian traditions and preserved in several churches with the medieval Clonduff graveyard still surviving.

Figure 7: Medieval Church and Graveyard

(g) The village has a strong connection to the mountains – often referred to as the ‘Gateway to the Mournes’. Situated on the foothills, it is one of the highest settlements nearest to the higher Mournes and is also the final destination of those using the Brandy Pad. CMS undertook a review of tourism literature (Appendix 4) and it is almost exclusively referenced in local, regional and international tourism because of its central location for walkers. The Brandy Pad and stories about smuggling feature consistently on local national and regional tourism literature.

Figure 8: Extract from tourism literature Walk NI

Final Research and Consultation Report Hilltown Public Art Project

(h) Hilltown is a confluence of roads, ancient highways, bridle paths and a river corridor, recalled in its former name ‘Eight Mile Bridge’. The site of the sculpture is still a ‘way finding’ location for pedestrians and cars with the many road and town signs offering directions. A natural spring runs underneath the site.

Figure 9: Sculpture Site

(i) The site of the sculpture as a place of ‘way finding’ in what has traditionally been called the ‘town square’ has also historically been a place of meeting for local people. There was much discussion about the old pump that used to stand near to the proposed location. Local people would have often said ‘I’ll meet you at the pump’. The pump also entered the local vernacular with the phrase ‘You’ll be on the pump in the morning’ which one participant equated to being ‘pasted on facebook’ when you’d done something silly that people would laugh at! when the pump was removed in the 1950s, steps were discovered leading down to a natural spring at or near the site of the sculpture.

Figure 10: Old photo of 'the pump’ with the Downshire Arms in the background (j) There was a strong sense among those consulted, that while they understood the purpose of the sculpture was to interpret the local heritage for tourists and visitors, that the sculpture also needed to be meaningful to local people. They wished to have a sculpture in which they were able to recognise their place, their history and each other.

Final Research and Consultation Report Hilltown Public Art Project

(k) When asked to consider what the top three themes are in relation to Hilltown – the following emerged:

(i) Hilltown: Past and Future (ii) Hilltown: Rural Farming Community (iii) Hilltown: A place of confluence; meeting; distribution; wayfinding.

(l) The motif of a ‘sheep’ came up a lot during the consultation, while others expressed concern at the possibility of a sculpture that only associated Hilltown with sheep and did not express deeper, more human depths and connections with the town and the parish.

(m) There was also a strong sense that local people wanted the sculpture to be acceptable to the whole community, regardless of people’s cultural, religious or ethnic backgrounds.

6.2 Conclusions and Recommendations

Having considered all of the feedback and undertaken research into the area, it is the view of CMS that certain key factors need to be taken into consideration when preparing the artists brief and guiding prospective artists interested in tendering for the commission:

(a) The sculpture needs to reflect the local life of the community and be able to represent the community in an interesting way to visitors, especially tourists, but more especially walkers as they represent the main kind of tourist attracted to Hilltown and the surrounding environs.

(b) The Brandy Pad is a very strong link between ‘past and present’ in Hilltown. While its existence has led to the current configuration of the town, and its many pubs, it still continues to be a popular route for walkers, bringing them across the Mournes to the village. It also directly links Hilltown to one of the pieces of artwork already installed under the Mourne Public Art Programme – the ‘Smuggler’s Head’ at the Bloody Bridge.

(c) Every effort should be made to enable the new sculpture to be seen as a necessary stopping point in the journey of local walkers - a starting and finishing place as well as a photo opportunity. The following link may be of interest to the commissioners as it similarly aims at encouraging and promoting the West Highland Way. http://news.bbc.co.uk/local/highlandsandislands/hi/people_and_places/newsid_897 3000/8973631.stm

(c) The village pump, now gone, has a strong resonance with local people as a place of meeting, respite and social interaction and for the visitor also. In the past it was a place for tired animals wishing to drink – the old fountain had hook’s where the animals could be tied up. The symbol of the pump therefore would provide a strong theme for a new artwork, incorporating also aspects of Hilltown history, rural life and folklore. As well as being a place where local people could once again meet, it could be created in a way that is of interest for walkers.

Final Research and Consultation Report Hilltown Public Art Project

(f) Further research into the local folklore and history might be undertaken and incorporated into the brief by accessing the archives of Dr. Francis McPolin. There was no time within the scope of this research to do so.

(g) While local people were advised during the consultation that the choice of materials was at the discretion of the artist – there was a feeling that if, for example, the artist wished to use granite, that it should be locally sourced.

Figure 11: St John's Church Hilltown with the Mournes in Background