ESCONDIDO -- In the 22 years since the city launched one of the most aggressive public art programs in the state, an eclectic group of sculptures, fountains and mosaics have popped up all across town.

From the city's most rural parks to its most urban intersections, dozens of large and small art projects have been erected by professional artists looking to inspire, challenge and entertain visitors and residents.

Some critics have complained about the costs of many of the more elaborate projects, and other critics have questioned the beauty and location of some of the art.

But, generally, the city has been praised for the program, and some say the city's reputation as an artistic haven began when the City Council passed its public art ordinance in 1986.

Shortly afterward, the council approved plans for the California Center for the Arts, Escondido, which opened in 1994. And a few years later, art museums and art galleries began flocking to downtown Escondido, partly because of the city's newfound reputation.

"Our public art program established Escondido as a place that appreciates art," said Mayor Lori Holt Pfeiler, calling the program a remarkable success story. "Escondido has a community tradition of residents with big ideas, and art was one of them."

While many cities have established public art programs during the last two decades, most of them simply wait for donations and then plan projects when they have received enough money.

In contrast, Escondido's ordinance requires private developers to either include a piece of public art with their projects or contribute thousands of dollars to the city's public art fund.

Since the program was established, 11 developers have spent more than $300,000 on art projects that were erected as part of their developments. Examples include "Time Disc" at the Cypress Court assisted living facility on North Broadway, and "The Bakers" in front of Fornaca Bakery on Aldergrove Avenue.

Meanwhile, the city has collected and spent another $1.6 million on eight much larger projects, many of which include multiple art pieces. They include "Pillars of the Community," which features several large pillars on South Escondido Boulevard between Sixth and 15th avenues, and Vinehenge, an interactive children's project in Grape Day Park.

"These artworks add to the culture and attractiveness of the city," said Tim Giblin, a longtime member of the city's public arts commission. "They also add to the joy of everyday life."

Cost concerns

Giblin said the most common criticism he hears about the city's public art program is the costs for the projects, which have ranged from $19,000 for a small sculpture in front of Filippi's Pizza Grotto to $475,000 for a seven-piece project that spans several city blocks in downtown.

Erecting art outdoors is typically much more expensive because of concerns about stability and durability, said Susan Pollack, the city's public art consultant.

"People don't realize how expensive metal, bronze and glass are," said Pollack, explaining that artists must choose sturdy materials for outdoor projects. "The materials have to be strong and durable enough to withstand every kind of weather."

Pollack said most public art also requires a special foundation for sturdiness, which means the artist must hire an engineer.

"Nobody gets rich doing public art," said Pollack. "The artists do it for the satisfaction of seeing their work out in the public, and having it add to the community."

T.J. Dixon, a Leucadia artist who has completed two public art projects in Escondido, said people who complain about the costs of public art are being very shortsighted.

"When you create something on a grand scale that is expected to last 100 years, it can cost a lot of money," said Dixon. "People spend $40,000 on a car and hope it lasts 10 years, but complain when they spend $40,000 on a piece of public art that is designed to last forever."

Another complaint about cost involves developers who choose to pay the public art fee instead of erecting a project within their development. Pollack said most developers choose this option because it's much cheaper than erecting a large piece of public art.

Jim Crone, who developed the Signature Pavilion shopping plaza near City Hall, said he was frustrated that the city would not refund his money later on when he decided to move forward with some public art.

But the city's public art ordinance does not allow for such changes after a development has been completed.

An open process

In addition to devoting more money to public art than most cities, Escondido also has one of the most rigorous processes for approving such projects, said Pollack.

The city's public art commission, a nine-member panel appointed by the City Council, creates the outlines of a project and then asks artists to submit proposals, said Pollack.

Once the proposals are received, about six finalists are selected to create sample budgets and smaller models of their project, said Pollack. The models then get displayed in public for several weeks so residents can tell city officials what they think of them, she said.

Natalie Mates, the newest member of the commission, said she has been shocked by how open and democratic the process is.

City officials in several departments also examine the submitted budgets to make sure they make sense, and the backgrounds of the artists also get checked.

"Neither the city nor the artists want any big surprises along the way," said Pollack.

The process has created some controversies, but it has also helped the city avoid some bad projects, said Pollack.

A windmill proposed for Second Avenue near the Escondido Police Department was rejected in the late 1980s, because many residents complained that windmills played no role in Escondido history, said Pollack.

"It's really important that whatever we do here has a connection to the community," said Pollack.

Another project planned near the intersection of El Norte and Centre City parkways was discontinued because three separate proposals were determined to fit the site poorly. The site itself was eventually rejected because expensive irrigation work was necessary to place most kinds of public art there.

"We don't want to use our public art money for grading, power or irrigation unless we absolutely have to," said Pollack.

Among North County cities, only Carlsbad has a public art program considered as aggressive as Escondido's. But Pollack said Oceanside, Vista and Solana Beach have made strides in recent years.

Fallbrook, which is not a city, also has a blossoming program dependent primarily on community donations, and Poway included public art in its new City Hall complex that opened in 2004.

San Marcos has been conspicuously absent from the public art scene, and Councilman Mike Preston said last week that city officials made a conscious choice to have Cal State San Marcos and Palomar College be the locations for the city's public art. The two schools boast more than two dozen public art pieces between them, but none of the city's plazas or parks have any public art.

A change in focus

A flurry of art was planned and erected in Escondido after the new ordinance was passed, with 10 of the city's 23 public art projects being completed between 1989 and 1991.

Things slowed to a trickle after that, and the only project completed between 2000 and 2004 was Queen Calafia's Magical Circle, a sculpture garden for children in Kit Carson Park that was provided to the city for free by artist Niki de Saint Phalle.

Pollack said the change in pace reflects a change in philosophy, with the commission focusing more on large projects that will take a long time to develop.

One of those will be the "Southern Gateway," a $200,000 project planned for Centre City Parkway that will announce the city's presence to northbound drivers.

"This will have to be somewhat monumental and have a strong, immediate visual impact," said Pollack.

A similar project, called the "Northern Gateway," will be erected afterward at Country Club Drive and Centre City.

Louise Thurber, a member of the public art commission since it was founded, said the new projects are exciting.

Thurber said the commission's goals are complex, but that their main motive is using public art to help the city change gracefully.

"We want the city to grow beautifully, not all topsy-turvy," she said.

Contact staff writer David Garrick at (760) 740-5468 or dgarrick@nctimes.com.