There's only so much commercial galleries can do to promote the visual arts. They do their job of representing a few artists to a limited art market very well, but it's not enough. Artist run co-operatives, studio groups and community art spaces also do their bit to get the word out to a broader market but they too are speaking only to the converted.

There remains a large number of people who have little knowledge of the visual arts, people who wouldn't attend a gallery even if they knew where to find one. The reason they don't know and don't go is because they haven't seen enough art, within the parameters of their daily comings and goings, to be more then vaguely aware of it's existence. To them fine art is something apart from life, something kept in exclusive places they don't frequent. They assume it's elitist, not for 'plain folk'.

Thankfully, more local government authorities are supporting art and craft through acquisition or award exhibitions and sales, and commissioning public artworks. This brings art to the people, places it in their neighbourhood, makes it available in familiar venues. The result is an eye opening experience for a growing number of 'plain folk'. It demonstrates that although some works of fine art may well be enigmatic, they can still be appreciated. Also, towns and shires are realizing the fact that good works of art, unlike other community assets, need little maintenance and, best of all, appreciate in value over time.

The Town of Vincent is well known for its art awareness and enthusiastic practice of the Percent for Art Scheme. The most recent public art project is an installation of innovative footpath panels, by artist Paul Caporn, along a short stretch of Oxford Street. The 'opening' that marked the completion of the artwork was a success as people from the different worlds of art, government and business mingled and chatted over coffee. But when the speeches were spoken and invited guests departed, when the empty cups were collected and the event was over, the project continues. The artwork remains, in public view, and will be there for quite a while to come.

In this example of public art, Caporn celebrates the former occupant of the site, Venables Hardware Store, caters to the the present owners, Kailis Bros Fish Market & Cafe, and considers future pedestrians by ascertaining his artwork will be permanent and safe. People will stop and look at this new contribution to their landscape and appreciate the ingenuity of the artist. Reactions to the work may differ but most will delight in the sea creatures and coral shapes cleverly composed from sections of steamer baskets and spatula blades, nuts and bolts, slotted spoons and flexible steel hose, all suspended in resin like fossils. The artwork will be viewed daily by many 'plain folk' and even if it's more accessible, it's no less awesome as art.

When we encounter art in unexpected places we react to it honestly. It is this spontaneous response that breaks down the barriers of elitism in art and returns it to the public. More local authorities should be encouraging this type of artistic interaction, as painting bus shelters to combat graffiti is no longer sufficient. While the vocal minority protests in their ignorance, many intelligent people accept the fact that art is beneficial to our lives. It sometimes provides amusement, often promotes opposition but always encourages debate, which in turn opens the mind. That's the best thing about public art.

Like the attendees at the 'opening', locals will soon become oblivious of the artwork as it becomes part and parcel of their landscape. However they will see it afresh when, as proud owners of the public artwork, they will point it out to new residents and visitors. And that's the next best thing about public art.

Congratulations to Paul Caporn for his presentation of an excellent work of public art, and thank you Kailis Bros and the Town of Vincent for encouraging and facilitating new art experiences for us to encounter during our every day activities.