Late March 1985, Richard Vinycomb (from Brisbane Community Arts Centre) rang and asked if I wanted to paint a banner for the Collinsville Branch of the Queensland Colliery Employees' Union (QCEU). I promptly accepted this opportunity to produce a piece of public art since it was a fair price - not surprising since I was being commissioned by a union experienced in pay justice. Beyond that, it was a chance to think through and attempt to resolve a number of issues. The difficult marriage of art and politics, for instance, also the reestablishment of pageantry in a TV age; to fuel that desire for hand-made, tactile, tangible symbols. new in look, though old In concept and function; which would augment people's lives with a sense of historic, organic and emotional existence against the cold, mechanical backdrop of media reportage in the waiting room of political and nuclear inevitability.
Three days later, on April Fool 's Day, I flew to Collinsville. Before leaving, I wrote a contract. approximately
as follows:
We, the QCEU (Collinsville Branch), commission Ian Smith to paint a banner for our Umon. We agree to the following:
1/ That the banner be 2 x 3 metres, painted on both sides with words, images and ideas as agreed upon by our Executive and the artist, Ian Smith.
2/ That Ian Smith, while honouring our requirements may have artistic freedom, and that the banner he produces in his best integrity as an artist, shall be his offering as the banner... (This clause means that having looked at my work and credentials, and having taken the calculated risk of commissioning me, they can't say, on seeing the result, "do it again"... The rest of this article is available to subscribers of Eyeline