David Patten – British Public Artist

1972–75 BA Hons Fine Art (First Class), Birmingham Polytechnic

1975–78 MA Painting, Royal College of Art, London

2001 Advanced Diploma in Capacities for Managing Development, Open University

2017 Patron of The Baskerville Society.

David Patten is a British artist renowned for his contributions to public and community art and urban design. His work often focused on collaborative projects that engaged local communities, emphasizing themes of identity, environment, and social inclusion. His work often explores the interplay between art, architecture, and community. He has also contributed to discussions on public art and urban design through publications and exhibitions. 

Early Career and Community Engagement

In 1979–1980, Patten worked as a Research Assistant at the Herbert Art Gallery & Museum focusing on post-War public art in Coventry. During this period, he conducted in-depth research and documentation of public art strategies and developments in the city following World War II. His work contributed to a broader understanding of the role of artists in Coventry’s artistic and cultural regeneration during the post-War era.

In the mid-1980s, Patten collaborated with Jubilee Arts, a community arts organization, on the Noose Lane Festival in Willenhall. Alongside artist Alan Vaughan, he led workshops with primary school children to create sculptures from refuse, exploring environmental and recycling issues. He also conducted sessions with older youth, producing large cut-out drawings outside of school hours. Patten’s approach emphasized self-portraiture and participation, aiming to foster self-awareness and community engagement through art. 

Educational Initiatives

Patten has worked with organizations like Art Link (1982–1986), Interlink (Poland and Mexico, both 1985) and the Ikon Gallery’s artists-in-schools program (1983), focusing on inclusive art education and projects involving individuals with disabilities. 

West Midlands Public Art Collective

Between 1984 and 1987, Patten was a member of the West Midlands Public Art Collective, a group of artists active in Birmingham that also included Steve Field, Derek Jones, Mark Renn, and Paula Woof. They undertook several public art commissions, including a relief mural for Bell Street Passage in Birmingham, which has since been lost.

Birmingham

One of his most prominent works is the “Monument to John Baskerville” in Birmingham’s Centenary Square, celebrating the legacy of the 18th-century printer. Patten’s practice integrates research, creativity, and practical implementation skills, often focusing on the intersection of art and public space. ‘Industry and Genius’ (1990) pays homage to 18th-century printer John Baskerville. Comprising Portland stone columns with reversed bronze letters spelling “Virgil”—the first work Baskerville printed—it reflects the traditional printing process. The title derives from an 18th-century poem praising Baskerville. After being temporarily removed during the square’s redevelopment, it was reinstated in 2019.

The “Cader Idris Horizon Line” was initially exhibited as part of “Cader Idris and the City of a Thousand Trades” the Ikon Gallery in 1989, and later re-cut and installed on John Madin’s 1974 Birmingham Central Reference Library in 1990. Now lost. The Ikon Gallery installation juxtaposed the Welsh mountain with Birmingham’s International Convention Centre (then under construction) to comment on industrial heritage, landscape and labor.

Between 2008 and 2015, Patten played a significant role in the redevelopment of Golden Square in Birmingham’s Jewellery Quarter. Collaborating with BPN Architects and landscape architects Capita Lovejoy, the project has been recognized for its thoughtful integration of art, architecture, and landscape design, contributing to the cultural and social fabric of Birmingham. 

A notable feature of the project is a poem embedded into the square’s paving, reflecting the area’s rich heritage in jewellery-making. The text captures the dynamic and shimmering essence of the locale, likening it to a jewel. This poetic element was part of the winning design in a competition aimed at revitalizing this historic urban space, designed to serve as a multifunctional public space, comprising three distinct areas: the plaza, the orchard, and the promenade. These spaces were intended to accommodate events, leisure activities, and community gatherings, thereby enhancing the vibrancy and celebrating the dynamic spirit of the Jewellery Quarter.

Art and Urban Design

In collaboration with Jane Kelly, between 1992 and 1994 Patten served as Co-Lead Artist on several significant projects at Sheffield Hallam University. Their notable works at the university include: 

• Hallam Square: A public space project completed in 1993–94, enhancing the university’s urban environment.  

• Linear Park: Developed during the same period, this project contributed to the university’s landscape architecture.  

• Atrium Flooring: An interior design project featuring abstract patterns, located within the university’s City Campus. 

These projects are documented in Sheffield Hallam University’s Public Art Research Archive, highlighting their impact on the campus’s aesthetic and functional design. 

Patten played a significant role in the regeneration of Cardiff Bay during the early 1990s. He served as a co-lead artist on several major public realm projects commissioned by the Cardiff Bay Development Corporation (CBDC), contributing to the transformation of the former docklands into a vibrant urban space. 

He collaborated with fellow artists Jane Kelly and Jack Mackie (Seattle), as well as MBM Architects (Barcelona), on the Bute Square and Avenue Design Team between 1993 and 1994. He also co-led the Tyndall Street Design Team from 1992 to 1994. These projects were part of a broader initiative to integrate art and design into the urban redevelopment of Cardiff Bay, particularly in areas like Butetown, which had a rich cultural history but had suffered from industrial decline. 

Patten’s work focused on creating public spaces that respected the historical and cultural context of the area while contributing to its modernization. His contributions are documented in various publications and archives, including a study titled “Lloyd George Avenue & Tiger Bay,” which examines the impact of the CBDC’s schemes on historic docklands communities. 

Through his artistic and design efforts, David Patten helped shape the visual and cultural landscape of modern Cardiff Bay, ensuring that the area’s redevelopment honored its past while looking toward the future. 

As a cultural strategist, Patten is also known for his involvement in the c/PLEX project—a proposed public arts centre in West Bromwich, UK. The c/PLEX initiative aimed to create a vibrant, community-focused space for artistic engagement and cultural expression. Architect Will Alsop designed the centre, envisioning a bold, balloon-like structure that was showcased in a cartoon-style model at the British Pavilion during the Venice Biennale. ​

Patten’s work on c/PLEX was deeply rooted in the principles of cultural democracy. He advocated for expanding access to the arts beyond traditional institutions, emphasizing the importance of community participation and the recognition of diverse cultural expressions. This approach challenged the conventional “Arts for All” model, which often centered on established European art traditions, by promoting a more inclusive and participatory framework for cultural engagement. ​

The c/PLEX project was closely associated with Jubilee Arts, an organization committed to fostering social equity through community-based art initiatives. Their mission focused on developing projects that harnessed people’s creative potential to build a fairer society, offering opportunities for exhibition, training, and enterprise. 

The c/PLEX conceptual framework and the discussions it sparked have had a lasting impact on community arts practice and the discourse surrounding cultural policy in the UK.​

In the 2000s, Patten expanded his practice to include urban regeneration projects. Working as pro/POSIT (established 2001, Cambridge) he partnered with Maurice Maguire and architectural firms like Bryant Priest Newman Architects on initiatives such as the “Hinckley Building | Building Hinckley” project for the redevelopment of the Atkins Hosiery Factory as a new creative hub, and the Culture & Regeneration Study in Corby. These projects aimed to integrate art into urban planning, enhancing public spaces and community identity. 

Patten’s involvement in regional art initiatives and his collaborative approach suggest a significant influence on the area’s public art scene. His work aligns with community-engaged art practices. 

His contributions to public art and cultural heritage, particularly those emphasizing community engagement and historical reflection, includes the restoration and revitalization of the Stourport Canal Basins in Worcestershire.

Between 2004 and 2006, Patten (working as pro/POSIT) collaborated with British Waterways on the Stourport Canal Basins project, which was shortlisted for the BURA Waterways Renaissance Strategy & Master Planning Award in 2006. His work involved integrating art into the landscape to evoke the site’s layered history, memory, and sense of place. Patten’s approach was influenced by cultural theorists like Walter Benjamin, emphasizing the interplay between past and present in shaping communal spaces.

Additionally, Patten contributed to the “Stourport Markers” project in 2008, collaborating with British Waterways and artist Rob Colbourne. This initiative involved installing interpretive markers throughout the canal basins, highlighting significant historical and cultural aspects of the area. 

The Stourport Canal Basins themselves are historically significant, dating back to the late 18th century. Established around 1771, the basins marked the terminus of the Staffordshire and Worcestershire Canal, engineered by James Brindley. This development transformed Stourport-on-Severn into a bustling inland port, facilitating trade and contributing to the town’s rapid growth. Today, the restored canal basins serve as a testament to the town’s rich industrial heritage and are a focal point for cultural and recreational activities, thanks in part to the artistic and interpretive efforts led by individuals like David Patten.

David Patten played a pivotal role in the regeneration of Electric Wharf in Coventry—a transformative project that repurposed a former Victorian power station into a vibrant mixed-use canalside development. Collaborating with Complex Development Projects (CDP) and architects Bryant Priest Newman, Patten served as the lead artist, contributing significantly to the site’s design and identity. His work emphasized the integration of art within the architectural and urban planning processes, fostering a unique sense of place that honors the area’s industrial heritage while promoting contemporary creative industries. 

Electric Wharf now features live-work apartments, low-energy homes, and office spaces, all designed with a commitment to sustainability and community engagement. The project has been recognized with several accolades, including the RICS Award in 2007 and the ‘Outstanding Place of the Decade’ Award in 2010, underscoring its success in blending historical preservation with modern urban living. 

Patten’s approach to Electric Wharf exemplifies how collaborative efforts between artists, architects, and developers can lead to innovative and culturally resonant urban regeneration projects. His contributions have left a lasting impact on Coventry’s architectural landscape, setting a precedent for future developments that seek to harmonize art, history, and community. 

In 2009, Patten participated in the “Red Teapot” project at the Herbert Art Gallery & Museum, Coventry. This initiative was a commissioned research and art endeavor for a ‘non-conference’ organized by artist Janet Vaughan and emphasized collaborative exploration and creative dialogue within the museum setting .​

Patten also collaborated with BPN Architects on the Dartmouth Park Pavilion project in West Bromwich between 2007 and 2012, resulting in a distinctive pavilion that blends architectural design with artistic elements. The Dartmouth Park Pavilion is noted for its fortress-like appearance and serves as a testament to the integration of art and architecture in public spaces. Patten’s involvement in this project highlights his interest in creating spaces that encourage public engagement and reflect on historical and social contexts.

Between 2011 to 2013, Patten collaborated with artists Stuart Mugridge and Rob Colbourne on “Meshwork Worcester,” an artist-led initiative that ran in partnership with Worcester City Council’s Heritage & Design Team and the University of Worcester’s Humanities & Creative Arts department. It received funding from Arts Council England and was recognized as a national case study by ixia, the public art think tank for England. The project aimed to integrate artistic thinking into urban planning processes, and was inspired by social anthropologist Tim Ingold’s concepts of “taskscape” and “meshwork,” which emphasize the interconnectedness of human activities and environments. 

Rather than creating standalone art pieces, the initiative focused on embedding artistic perspectives into the city’s development strategies, particularly in the period between public consultation on Worcester’s Master Plan (2011) and the publication of the National Planning Policy Framework (2012). The work included analyzing particular sites like St. Clement’s Gate and Cornmarket in Worcester, producing drawings and poetic texts that both challenged and enriched existing city plans. They also organized events linked to conferences such as ‘Space-place’ and ‘Composting Culture’ to foster conversations about the city’s identity and future 

Meshwork Worcester contributed to discussions on the role of cultural well-being in urban development. In a 2013 opinion piece commissioned by ixia, Patten reflected on the inclusion of ‘cultural well-being’ in the 2012 National Planning Policy Framework, advocating for the integration of cultural considerations into sustainable development practices.

Artistic Background and Approach

Patten’s work often involves collaboration with communities, creating art that reflects local narratives and environments. He has been involved in various projects that integrate art into public spaces, encouraging community interaction and dialogue. Patten has also explored and published on the legacy of 19th-century Worcester sculptor William Forsyth, and the architect W.R. Lethaby‘s All Saints’ Church in Brockhampton, Herefordshire.

Further Information

For a comprehensive overview of David Patten’s work, including his projects, collaborations, and writings, you can visit his official website: davidpattenwork.com