Suits you

Commissioned sculptures should suit you and your space so you need to choose an artist carefully. We have a slide index of artists which staff will go through with the client, discussing what sort of thing they are looking for so they can match them up with appropriate artists. You can select a number of sculptors and ask them to come up with proposals; they should visit your site to get a feel for the space. They can then produce drawings or maquettes (small sculptures) to outline their proposals. If you do choose to do this then you should really pay the artists to come up with proposals.

Safety in contracts

Common problems tend to arise from underbudgeting and ambiguous contracts. We strongly recommend that there's a contract drawn up at the beginning of the project. We can advise on contracts to protect both client and artist.

Sympathetic art

People are increasingly looking for artwork that is integrated into the landscape: such as wall pieces and furniture - not necessarily free-standing sculpture - that's why we try to encourage an awareness of the client's environment - both the immediate environment and its wider setting (for instance, whether it's in a rural or urban setting). Site visits are often left to the last minute yet ideally sculptors should be brought into the project as early as possible and work with architects and engineers where they are employed. That works better than just parachuting something in its entirety and will result in a work that is in sympathy with everyone else's philosophy.

Wide open

We would prefer larger organisations, such as local authorities, to run open competitions in order to select an artist. The more consultation the better it will be in the end for both client and artist. The best works result from open discussions between the client and artist so that the sculptor can find out what the client is interested in, and can get a feel for the site.

Community art

If the sculpture is for a public place, we would encourage organisations to involve the community and consult with them so that there's a sense of belonging. Ways of doing this could be to have an artist in residence in libraries or hospitals or to produce publications on the work.

Hidden costs

It is usual for the artist to retain copyright, for instance, while maintenance would be carried out by the client. Beware of hidden costs - along with the materials and artist's fee you need to consider whether you will have to insure the piece and perhaps pay builders to prepare the site.

Mixed media

We're seeing a swing away from more traditional material such as bronze and steel into more natural materials that work with the landscape, while larger organisations are even using photography - laminated for use outdoors - and computer generated images which are projected on to a wall.

Unique commissions

The beauty of commissioning a sculpture for the garden is that a water feature, for instance, is not just going to comprise a traditional fountain in the middle. You will get something unique and special. An artist might suggest water coming out of the ground or a building. You are paying for creative talent and fresh ideas. Artists' fees represent quite a large proportion of the commission because it is important to recognise the artist as a professional and the fee should reflect the hours of labour, technical ability and the original ideas. People don't seem to give that sufficient credit.

Paula Campbell is acting director of the Sculpture Society of Ireland, Dublin 7. Tel: 01- 872 2296 or www.sculptors-society.ie