Conversation with Dane Currey, Director at UAP | Urban Art Projects

Holistic approaches to public art commissions
By Ian Tee

This article is a part of CHECK-IN 2025, our annual publication. You can purchase the physical edition (with access to the digital copy) for SGD38, or the digital copy for SGD5 here.

UAP Brisbane workshop. 

Dane Currey leads the UAP | Urban Art Projects team in Asia. With more than 20 years of experience in the arts, design, architecture, and construction industries, he has developed public art strategies for major commercial commissioners and collectors, and numerous city governments. He has also worked with renowned artists and institutions such as Xu Bing, Ding Yi, Ned Kahn, UCCA Centre for Contemporary Art, and the Long Museum among many others.

I invited Dane to talk about UAP’s range of services and how they work with commissioners and artists. Coming from a company with facilities and presence around the globe, he offers his insights on the different stakeholders and sensibilities driving public art programmes in various locales.  

Dane Currey.

Prior to joining UAP, you worked in different landscape design and architecture studios in Perth, Sydney, Hong Kong, and Shanghai. What was one unexpected situation you faced or an observation you made after settling in this role in UAP?

Working one-on-one with artists to help develop their larger-scale artworks has been an unexpectedly enjoyable and rewarding experience. I did not initially realise how valuable my design and project management experience from the architectural field could be in assisting artists. This skill set allows me and my team to genuinely support artists in realising their vision on an urban scale.

Tell us more about the size of the UAP team and where you scout for talent.

We have several bases around the globe that complement our main workshops in Shanghai, New York, Brisbane, Groningen, and Riyadh. From these locations, our studios can effectively serve surrounding regions, gaining a better understanding of local cultures and expectations. This approach enables us to operate globally while delivering tailored services locally. It allows local artists to access our global knowledge and helps international artists work effectively within different cultural contexts. We prefer to hire locally because, as part of the cultural creative industries, having a strong understanding of local culture is essential. This strategy not only benefits the development of our projects but also makes a lasting contribution to the cities where we operate, enhancing the local potential for public art.

Xu Bing, Living Word《鸟飞了》, 2022, installed in Shanghai Library East, China. Image courtesy of Shanghai Library. Photo by RAWVISION.

UAP is a vertically integrated business, in the sense that you can care for all aspects of the commission from curatorial support to the artwork production and its long-term maintenance. Do clients generally approach UAP for the full package?

Our team is made up of various specialists, allowing us to take a holistic approach to the development of artworks. We start with our curatorial team, who focus on strategic projects. Next, our design team works closely with the artists, often acting in an assistant role to help develop the artwork. Additionally, our technical team, with diverse engineering backgrounds, advises on feasibility and safety concerns. Finally, we have larger teams in the workshops that handle project management, manufacturing, and preservation.

Our focus is equally split between offering a turnkey solution and directly manufacturing artworks. Some clients prefer to work with us as custodians of the artwork programme from the initial stages through to installation. A prime example of this is the Shanghai Library East project. Our curatorial team collaborated closely with both the commissioner and the architect, Schmidt Hammer Larsen, to develop bespoke artwork proposals for the site. This collaboration allowed us to push the boundaries of how artwork can be integrated into architecture. The programme includes a large-scale terrazzo installation by Shanghainese master Shen Fan, a monumental suspended piece composed of over 800 individually hung characters by renowned Chinese artist Xu Bing, and carved stone artworks by Shanghainese master Gu Wenda, which required careful alignment with the basement columns due to weight. From the very beginning, our curatorial, design, and technical teams were all actively involved in coordinating these aspects with multiple parties.

In addition to our consultancy services, we also engage directly with artists as their manufacturers. Recently, we worked closely with artist Jun Ong and art consultancy  The Artling to manufacture a technically complex project for the rooftop of NOVA at One Raffles Place in Singapore. With the concept design already approved by the commissioner, we entered a rigorous technical design phase to review the proposed concept and evaluate the best methods for manufacturing and, equally importantly, installing an iconic piece in a challenging location.

Jun Ong, ASTRA, 2024, installed on the rooftop of One Raffles Place, Singapore. Photo by Rendy Aryanto, Artogo Production.

As a business with facilities and clients around the world, what are key differences when working in various contexts from China, to the Middle East, and Australia?

When we examine our group as a whole, it is interesting to observe the diverse artistic focuses emerging in different regions. In China, the commissioning of artwork for the opening of commercial developments remains a priority, although the importance of civic institutions is gaining traction. We typically offer a turnkey service for these projects, providing convenience for the commissioner—an approach that is also attracting increasing interest across other parts of Asia. However, there is also a growing interest in directly manufacturing works for artists and consultants throughout the region.

In the Middle East, large-scale civic artwork strategies are a key focus, largely driven by government initiatives. Our presence in Riyadh, along with our global workshops and studios, allows us to support these ambitious programs with both localised expertise and international experience. Our Australian operations, based in Brisbane, Sydney, and Melbourne, operate in a manner comparable to our work in China, yet with a distinct emphasis on First Nations artists. This focus shapes how we engage with local communities, influencing both the creative process and the techniques we employ. These works often involve intricate detailing and a deep connection to natural materials, requiring an approach that is as much about cultural sensitivity as it is about craftsmanship.

Our USA team has been manufacturing fine art for over 50 years from our workshop in Rock Tavern, and we have been building strong relationships with artists and institutions across both coasts. With this long-standing history, our teams work not only on monumental public installations but also on more intimately scaled pieces for institutional exhibitions and private collections worldwide.

Ai Weiwei, Arch, 2017, installed beneath Washington Square Arch, New York City. Part of the Good Fences Make Good Neighbours exhibition. Photo by Jason Wyche. Image courtesy of Public Art Fund.

In your opinion, what are two common pitfalls in public art commissions?

Commissioning public artwork involves a delicate balance, and evaluating individual pieces will always be subjective. However, I believe there are two key aspects to consider. First, the artwork should have an artistic ambition that pushes boundaries, explores diverse themes and points of view, and highlights stories that have not been widely explored. Second, it must also offer something tangible and recognisable to the public, whether through its overall form or specific elements that provide an easy entry point for understanding. This accessibility can encourage the audience to delve deeper, aligning their exploration with the artist's intentions for the project. If the artist neglects these points, the artwork may struggle to resonate with the community and may be quickly forgotten or discarded.

Another aspect we strongly oppose is what we refer to as "plonk art”.  This term describes scenarios in which a standalone sculpture is merely delivered and placed in a location without careful consideration of its surroundings, the local community, or its relationship to the urban context. True public art should be a bespoke commission tailored to a specific site and community. It should consider whether it should challenge the environment around it with its integration into the urban fabric, or if it should be scaled up or down to create an unexpected experience for viewers. Unfortunately, many pieces today are simply installed for the sake of short-term spectacle, which often results in a missed opportunity.

Idris Khan, Wahat al Karama, 2016, installed at United Arab Emirates (UAE) Memorial Park, in Abu Dhabi. Photo by Jonathan Gainer, Surface Photography.

What does a successful public art strategy look like? And what does it do for a city or locale?

One of the most ambitious public art strategies we have been involved in is the Riyadh Landmark Art Master Plan, a framework designed to deliver 1,000 public artworks across the city. Envisioned as a way to integrate artistic interventions throughout Riyadh, the programme consists of ten permanent public art initiatives alongside an annual light festival. Developing this framework required an in-depth spatial analysis of the city, examining its landscape, urban form, history, and culture, to ensure the masterplan truly reflects what makes Riyadh unique. It has been incredibly rewarding to see the strategic work undertaken by our curatorial teams across regions come to life, as the artworks conceived within this plan are now being manufactured and installed throughout the city.

We also apply the same strategic approach at a more intimate scale. A prime example is the aforementioned Shanghai Library East, a project deeply rooted in the city’s identity. From the selection of Shanghainese and Chinese artists to the way historical and cultural narratives were woven into the artworks, every aspect of the strategy was shaped with Shanghai at its core. Now fully realised, the library has become not only a hub for local readers but also a destination for art and design enthusiasts from across the region.

Judy Watson, tow row, 2016, installed at Gallery of Modern Art, GOMA Forecourt, Brisbane, Australia. Photo by Roger D’Souza.

Looking ahead, what is one underappreciated skill or quality necessary to thrive in this industry? 

Listening and patience are essential skills that cannot be overstated. Successful outcomes are built on trust, and that trust is only established by taking the time to genuinely understand the priorities, concerns, and creative vision of the artists we work with. Sitting down and engaging in open dialogue is critical, ensuring that each collaboration begins with a shared understanding. And that also is of importance to working with our clients as well.

From there, patience must be dedicated to exploring different approaches, whether in the design phase or during an artwork’s realisation, so that those less familiar with large-scale manufacturing can see that their artistic intent remains at the forefront of the process. Attention to detail is equally important. A deep understanding of an artist’s studio practice is what allows us to translate their work into larger-scale public interventions while preserving the integrity of their original vision.

This article is a part of CHECK-IN 2025, our annual publication. You can purchase the physical edition (with access to the digital copy) for SGD38, or the digital copy for SGD5 here.