An Inside Look at Business Development at UAP: How Projects Really Get Started

In most discussions about public art, the focus often rests on the artist or the final piece. However, every project at UAP begins much earlier, involving conversations, negotiations, and decisions that define what is possible. This Q&A provides insight into UAP's Business Development team as Kate Skakel (KS), Special Projects at UAP, explains how a long-standing relationship with a gallery, strategic early decisions, and close collaboration across departments laid the groundwork for Jaune Quick-to-See Smith's 'Making Medicine: Coyote (Going Forward, Looking Back)' to come to fruition.

Jaune Quick-to-See Smith (1939–2025) was a celebrated Indigenous artist whose work often addressed themes of history, environment, and cultural identity. For this project, she envisioned one of her signature canoes filled with symbolic objects, realised in bronze for the first time. Read more about the project here.

How did this opportunity first come to UAP? Why pursue it?

Kate Skakel (KS) Mike Price, Principal of New Business at UAP, had built a relationship with the Garth Greenan Gallery and its director, Hugh O'Rourke, over the course of many years. Interestingly, Hugh formerly worked at the foundry, which gives him valuable insight into the art-making process and makes him an excellent collaborator. He approached us with an exciting idea: to create a bronze version of one of Jaune's canoes for her upcoming solo show.

What stood out about this project that made you feel it was worth doing?

(KS) The fabrication methodology was fascinating, and we aimed to inspire the team to explore all the possibilities for creating it. We wondered whether the object was a scanned and 3D printed piece that consisted of a large cast shell that visually appeared as individual objects, or if we should actually mold each individual piece. Ultimately, we decided to cast the entire structure (both the canoe and the trash) using a technique called direct burnout. This involves creating a ceramic shell around the original objects and then burning out the entire object. The ceramic shell serves as a vessel to cast metal into. Direct burnout allows us to replicate the original object as closely as possible.

Can you walk us through the early conversations? How does UAP and its artists begin these conversations?

(KS) The initial discussions primarily involved me, Hugh, and Mike. We all spoke about logistics (timelines, getting the canoe to the foundry, etc), but then also worked to understand what the overall intent was in the sculpture. If we did direct burnout, the canoe wouldn’t be a perfect 1:1 replica of the original, would that be ok? What were the most important elements to preserve? Those are the types of questions that we work closely with the artist and the gallery to understand, right off the bat. We quickly included members from the estimation, design, foundry, and finishing departments to assess the implications for our strategy regarding cost, quality, and timing.

What was the biggest hurdle you faced in winning or securing this project?

(KS) The gallery wanted this project completed as quickly and cost-effectively as possible. Direct burnout is the best method for achieving that, but it comes with its own challenges. Like I mentioned, it typically wouldn’t produce a 1:1 replica, and the castings are much more prone to defects and small inclusions. We needed to set clear expectations with both the gallery and our internal teams, emphasizing that the presence of these flaws would be acceptable. Our team excels at creating perfect objects, but this project is intentionally designed to be imperfect, so communicating that point can be challenging.

How did you approach conversations with the client/partner/artist that UAP was the right fit?

(KS) The gallery is easy to communicate with and is excited to explore various creative processes. Eventually, Neal, Jaune's son, visited the foundry. As an artist himself, he has a deep understanding of how these pieces were created. The entire team was highly collaborative, working together on the patina, organizing the pile, and positioning the coyote on top.

Were there any unexpected turns in the process where you had to rethink your strategy?

(KS) Unfortunately, during the making process, Jaune passed away. It was a sad and unexpected loss. Nevertheless, her vision remained clear, and our team continued to work towards the ultimate goal of realizing the artwork as she intended, and honoring her vision. An unexpected but happy surprise was that we immediately started another canoe, titled “King of the Mountain”, that is now on view at Frieze Sculpture in London. 

How did you build trust with the stakeholders?

(KS) Building trust primarily revolves around maintaining honesty throughout the process. It is crucial to present different options, such as scanning and 3D printing, rubber molding, or direct burnout, which destroys the original in process. Explaining our approach is vital for both our team's success and our clients' trust in us. We should never promise something we can't deliver or make assumptions that really depend on the artist's decisions. As a business developer, the more you understand our capabilities at the foundry and our areas of expertise, the better the final product will be. 

What role did teamwork across departments (design, project management, foundry, etc.) play in making this deal possible?

(KS) The team played a crucial role in this project. Mike and I were confident that we would knock it out of the park, but we were uncertain about the best approach to take. Having Matt Dunn (Finishing Lead), Jesse Mills (Design Lead), Ivan Goodman (Manufacturing Manager); and Jake Joyce, (General Manager), all collaborate with us on the canoe was the best decision we could have made. After our internal discussions, we were able to present our findings to the gallery, outlining all the pros and cons for their consideration. Once we moved into production, Steven Murello took over as the Project Manager. His excellent communication skills, both internally and with the client, as well as his enthusiasm for the project, led to successful delivery. He did an outstanding job!

Was there a moment in the process that felt like a turning point, when you knew the project was really going to happen?

(KS) Sometimes, when a project lands on your desk, you can just tell it is going to move forward because it's a perfect fit. That's exactly how this project felt. It is suitable for cast metal, featuring a fantastic artist, a wonderful gallery, and an incredible sculpture!

Looking back, what did this project mean to you personally and to the BD team, and what are you most proud of in how everyone handled it?

(KS) This project began as a joint effort between Mike and me, but once we involved the wider team, it became even more fulfilling to watch everyone take ownership and bring it to life. I’m especially proud we achieved group buy-in early on; involving different voices from the start led to stronger decisions and better outcomes, tenfold.

How has this experience opened doors for future opportunities, and what lessons will you carry forward?

(KS) Internally, the whole experience reinforced an important lesson: think outside the box when planning a project but always do it as a team. Externally, clear communication, respect for the artist’s vision, and collaborative problem-solving are what make projects like this possible.