The recently unveiled public bronze sculpture, Against da Tide, by artist, Bill Ming, has already elicited several published responses and numerous private reactions.Walton Brown, in a recent column, rightly referred to its ambiguity, but art generally allows us to bring to it, our own personal experiences and interpretations.It is possible to interpret art from numerous perspectives and none is necessarily wrong or inappropriate.Indeed, if we allow it, this collective view of art, broadens our understanding, thus expanding the depth of the experience.When I was a graduate student at New York University, we were given an assigned exercise that is useful in considering art generally and this sculpture in particular.We were asked to select a few works of art from local museums and then sit in front of each, long enough, say, a half hour and interact with the work, all the time writing down our thoughts.Additionally, we were given a list of possible approaches. The list suggested that it is possible to see a work of art, formally, materially, technically, historically, politically, psychologically, sociologically and so on.The list enumerated maybe a couple dozen disciplines, as possible avenues for looking at art, but it was also pointed out that the list was incomplete and other possibilities might be found.Since most of us allow only a few seconds, per work of art, it would be useful to linger and give it an in-depth consideration, maybe writing down, as a beginning, a simple description of what we see.I think that the exercise would be highly enlightening, as we all tend to manoeuvre this world, half blind.That is, we see only enough to get around any particular object without walking or driving into it. Its identity or purpose may be unknown and unimportant to us at the moment.Art requires that we slow down and really look, in order to begin seeing.This sculpture, Against da Tide, depicts a group of six individuals in a boat and on close inspection, it is seen that they are further subdivided into smaller units of one, two and three persons with varying spaces between.By the hair styles, it is understood that these various individuals are both men and women with a woman sitting at the end of the boat acting as coxswain. One individual saw these divisions as symbolic of social segregation.Another saw the spaces between, as references to open space and since the artist has created shallow indentations as reservoirs of water, the sculpture also becomes a bird bath.This can be interpreted as the interactions of humanity with the natural world.In a conversation with Bill Ming, I learned that although one report said this sculpture was about slavery and slave ships, that was never the artist’s intention.He said that he saw it, instead, as everyone of us being in the same boat, pulling against opposing forces symbolised by tidal flow. That is a wonderful and attractive ideal.After the sculpture’s unveiling, I had to go on an errand and on returning, I was able to see the sculpture from a distance.From that perspective, it appeared less as people in a boat and more as upturned hands and fingers. To me it was an upbeat gesture that gives a positive salute to our community.There was one jarring note, however. The placement of the sculpture is unfortunate in that the setting on a busy Front Street corner interferes with seriously interacting with the work.There is too much going on around it to be able to see it to advantage. Possibly a placement behind the bank, on Albouys Point, would have been more suitable and certainly easier to contemplate.The placement of a work of art can make or break it. I recall seeing a sculpture, by famed English artist, Henry Moore, of a reclining figure, which had been placed to the side of a very large quadrangle on the campus of the Rochester Institute of Technology.The location completely minimised the work, so much so that it was easy to miss.Some years later I was again on that campus and by then the Moore had been relocated to a much smaller setting between two brick buildings.The new location allowed the work to be seen for what it was. The interplay between the sculpture’s verdigris patina and the warmth of the surrounding brick was an amazing improvement over the original setting.HSBC is to be commended for its careful following of the 2001 regulations in regard to the Government’s City of Hamilton Plan, especially in respect to its public art requirement.The Bill Ming’s, Against da Tide, is a testament to that consideration.For many, the art requirements in the 2001 City of Hamilton Plan are probably unknown, however, the plan encourages an art component in all new building developments within the City of Hamilton and requires it for buildings with an area of 50,000 square feet or larger.The plan states that the work must be visible from the street and preferably external to the building.It also suggests that the views of the Arts Council or other such relevant body, may be sought, in, I suppose, selecting the work.It is known that HSBC followed the rules, even to the point of seeking the advice of the Arts Council.I have emphasised the art component of the 2001 City of Hamilton Plan, for, I have observed that very few of the large, new Hamilton buildings have any obvious public art.I have been told that some have determined that the colour of the building or the business sign is the art, but that is a considerable stretch.These developers who find ways around the art regulation, are doing the community and especially the art community a great disservice.It makes those particular developers look exceedingly cheap and really, it is a considerable blot on their reputations.Having recently visited Ponta Delgada in the Azores, I think it notable to indicate that this beautiful city has public art in abundance, including, even, the many and varied designs of the sidewalks.Furthermore, as I write, the Government of the Azores is building a new, notable piece of architecture for a museum of contemporary art.The architect of this development is Oscar Niemeyer. He is famous for having been the principal architect for the new, (1960) capitol of Brazil, known as Brasilia.I dream of the day when we too will take such pride in our capital city that we will seek to make art of central importance in new city developments. HSBC has set an outstanding example for the rest of us to follow.