This week, I attended the opening reception and other events for an exhibition at the Jordan Schnitzer Museum of Art in Pullman, WA in the theme of Black Lives Matter. The main exhibition is a body of work by Alison Saar that speaks to her experience as a biracial woman in the U.S. The rest of the museum is filled with work by 20 artists who were selected to receive a grant to create new art for this show.
I am one of those 20 artists. When I saw the RFQ last year, I decided to apply because I have been wanting to create public art for Thurston County (WA State) that honors and celebrates non-white community members, and I had an idea to use this grant to support that work.
Let me jump back to the motivation, because I have not made art about social justice issues, for the most part. The themes in my work have focused more on women, mythology and religion, and a reciprocal relationship with Nature. However, with the racially-motivated violence that has punctuated the past several years (which is simply more visible due to phone and body cameras), I found myself wondering what I could do to support the Black Lives Matter movement?
Back in 2017, I made a mosaic portrait of Edmonia Lewis, a mixed race (Haitian/Native American) sculptor who was prominent in the 1800s. Included in the background, under glass, are bits of her story and work. My goal was to provoke further research, and for the viewer to ask themselves why she is largely unknown? This piece was purchased by the City of Seattle for permanent collection in the Office of Art and Culture.
When I learned of Breonna Taylor's story, one thing that struck me was that she seemed to be underrepresented in the media. As memes began to be shared along with the "Say Her Name" directive, I felt compelled to create a small mosaic portrait of her. I saw too many white people using her name and image to get "likes" and hits, and my hope was to find a way to help raise awareness and possibly to sell or auction the mosaic to donate to an appropriate charity. The portrait was included in a couple of exhibits, and eventually I managed to connect with Tamika Palmer, Breonna's mom, and the portrait now belongs to her. In the end, that felt like the right outcome.
And that's all I had to demonstrate my interest in making art in the BLM theme, plus many examples of mosaic portraiture I've done as portable and permanent public art. But I also had an idea inspired by the dearth of public art in my area that in any way celebrates the Black community. There is one mural in downtown Olympia in honor of Rebecca Howard.
My idea, and the proposal I pitched for the grant opportunity, was to create a mosaic portrait of Nat and Thelma Jackson, a powerhouse couple who have spent their lives working for racial equity and much more. (Read more here: https://www.sos.wa.gov/legacy/sixty-eight/nat-and-thelma-jackson/) The portrait would be made on tile board using techniques to make it weatherproof, so that I could find a way to have it installed as public art, and it would be safe to put it outside.
I really thought it was a long shot, so I was shocked to learn that I was one of the artists selected! There are so many talented artists of color, I really doubted I would be considered. My submission was very clear that I am white, and mentioned that the movement needs those of us in privilege to step up and stand with our Black community, or nothing will change. When I look back at photos and film of events like the march in Selma or the Lunch Counter Sit-Ins or the Freedom Riders, I see the white protesters who joined in the fight, and I want to be that kind of person. I want to be on the right side of history, and I want to fight for a better world.
Over the past year, I've talked with Nat and Thelma to explain what I wanted to do, get their permission, and make sure I was representing them in a way that felt empowering for them. We also discussed at length how to site the mosaic, and Nat guided me toward working with the City of Lacey, WA. Their roots go deep in Lacey. As it turns out, Goose Pond was once the Jackson's property, and the Lacey Community Center is located next to it. The Jacksons live nearby, so at this time, the most likely location for the portrait is there, inside of the community center in a prominent spot.
*Note: The background was chosen partly because Nat loves to garden and Thelma loves flowers. I chose the soft, sweeping colors and shapes to contrast with the smaller, tight spacing in the figures, so they would come forward. The foliage also represents the seeds planted by Nat and Thelma in Washington State and Thurston County, and how they have cultivated positive change that will continue to grow and flourish for future generations.
When the exhibition opened and it was time to drive 6 hours to the other side of the state, I did have some trepidation. I didn't know what to expect. The opening fell during possibly the busiest time frame of my career, when I was scheduled back to back for multiple events and an installation, so I barely had time to be nervous. No one was flexible enough to accompany me for three days midweek, so I knew I would be arriving alone, not knowing anyone. And I was pretty sure, as a PLC (Person Lacking Color) I would be in the minority among the artists. While driving, I thought through how to answer any questions that might come up so that I would be less likely to misspeak or freeze. I knew I wanted to focus on talking about the Jacksons and not myself.
I did not expect to be the only white artist included in the show.
Had I known, would I have politely declined to attend? No. Was it uncomfortable? Yes.
I kept Ijeoma Oluo's advice in mind throughout the event. It's hard, and you might get it wrong, but don't put your tail between your legs and give up. Keep trying. I felt it was important to be there, but also to be quiet. I decided immediately that I wouldn't speak up unless asked. I listened and my fellow artists spoke and it was intense. I felt like an outsider and I wondered if I belonged there. My mosaic was featured prominently. It sparkles. But it was not made out of lived experience with racism. The other artists presented work that is their insides on full view. It is angst and pain and fear and hope all fashioned out of paint and torn paper and fabric and metal. It is generations of violence, objectification and nightmares laid out bare for the public to witness. I felt keenly aware of how my work is different from theirs. Still, I believe down to my bones that we need to stand together, and that change only happens if those of us with power stand alongside those without.
Here is a link to an article about the show: https://dnews.com/local/social-justice-artistic-impact/article_cae87b45-1bc8-5d33-90dc-91306417942f.html?fbclid=IwAR1QxNWvKbZstnTTkW8awVqpszggtwYWNUPwPexBekkoNwykHnG-ozpsNqI
