Public Works

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"My experience creating works of public art has involved finding a balance between and seen the evolving of a synergy between personal vision and community involvement - to a point where they exist in harmony. My involvement in and understanding of Art in community life has evolved to the point where community involvement in some form represents an integral part of my public art practice.  All of my works of public art are site, community, or culturally specific.  Separating from their location would strip them of meaning.

Although the creation of non-commissioned solo works remains my principal occupation, it has been my experience that a shared artistic vision and experience is an enhanced one.

My professional art practice has often meant an engagement with the local community.  Many of my major sculptural commissions in Belfast, for instance, involved the community in a very meaningful way. Youth, pensioner, ex-prisoner, cultural, government, artistic, women, minority, and political groups were often consulted and interacted with as a necessary part of my artistic process. The Artist was integral to, supportive of, and was supported by the community.  As a result I was able to create with complete artistic freedom; all my works were accepted and owned by the community.

Through my experience in youth work in Canada and Ireland, I became convinced of the positive influence of Art in the encouragement of youth.  I have organized in both countries exhibitions of work by emerging artists.  This involvement with emerging artists has formalized into a practice by which I have taken on artists from the secondary, undergraduate and graduate level as apprentices in some of my major international public commissions.

In my own emerging years as a working artist, my artistic practice often took place within the context of larger artists collective, and I still belong to various art collectives and societies, although at this time I work in isolation".

Yours truly,

Farhad Nargol-O’Neill


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