The Homeless Population at 289 Derby

 

photo: Claudia Paraschiv

Stumps by Michael Jaros

A series of stumps were brought to 289 Derby by city workers to be used as flexible seating for the upcoming Community Design Events, and we wanted to paint them. But who would paint them? On one of our first days at the site, a group of teens from the On Point Plummer Youth Promise came to help. Paint was everywhere, as the stumps took on a life of their own and a series of strange, otherworldly colors emerged. Some stumps were spackled with multiple colors of paint, some were hand-printed, and some were monochromatic. We quickly realized that we had not logistically thought through a lot of things – we did not have water, for instance, to wash off the brushes and rollers and only a limited amount of supplies. Trips to the gas station and ace hardware solved these problems, somewhat.

When the kids left we still had more stumps to paint. A day or so later, two friends brought their two children to help paint the stumps and the process began again: select a nice color from our many paint-cans, make sure there was actually paint in it, find a brush that was still usable, fill up the water bucket, and so on. The kids painted with a frenzy and excitement that oscillated with mild disinterest.

We’d had some encounters with homeless folks who occupied the side of the gas station next to the 289 lot. A man named John had come forward first and talked to us about what we were doing. He then returned with his friend and wrote on one of the doors we had set up for community interactions, which read “WRITE YOUR QUESTION HERE.” The question he wrote was “Why are the homeless treated so poorly?” The second question was: “Why does the shelter not help anyone?” It was a stark reminder of their presence and of their humanity, something we often willfully ignore or place just at the uncomfortable margins of our sight. They were curious about what we were working on, but also wanted to be involved in what was happening. Understandably, they approached our actions with a deep skepticism.

We’d rolled a series of logs near the water to be used for a drum circle during the first event. I’d noticed a group of homeless had begun sitting there and, as I was once more painting nearby, John came and talked to me. I learned a little more about him. He had three sons. He had worked in a variety of fields from construction to IT. He had not seen his sons in years. They did not know where he was. I didn’t ask what made him live on the streets and he didn’t tell me. He asked if it was ok if his friends sat on the stumps in the circle. I said it was fine. I told him I would be moving over to the circle to paint those stumps soon.

I confess I was somewhat afraid to do so. The stigma around homelessness has also affected me, but this conversation with Barry had made me feel less trepidation. I began painting a stump in the circle and very quickly they began chatting with me; some of them asked if they could help to paint. A woman was clearly drunk, but wanted to help. She kept calling me David, instead of Michael, and told me she thought she was stuck on that name because she’d had a son who had died who had had that name. Another woman joined and painted an entire stump and ended it by placing a heart on the top of it. I didn’t catch her name, but she had “been lucky” and gotten her family and her house back after a spate with addiction. She had merely come out there, it seems, to meet with her friends from her harder times. Another man told jokes and riddles, and kept asking me what I thought of them, why I wanted to hang out there with them. A man named Green, dressed in a green hat, green shirt, and green socks jacket painted an entire stump green.

Eventually I had to be on my way and took the paint back to its place and cleaned up. It was a brief, accidental moment, but I think it was important. Empathy is in short supply these days and it certainly tempered any fear or frustration that I may have had at later events as screams might have rung out, chairs might have been kicked over, or fights broken out on the edge of 289. They are there, they are people with hopes and dreams, and they must be a part of the process.

(note: names have been changed)

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TidalShift: Plastic in our Oceans…?

The thought of a school of jellyfish flying above your head as you walk down the street may seem strange, surreal… simply not right.

If we suspend what we already know about trash in oceans, we would think it equally bizarre for a bunch of disparate plastic items from grocery bags to bendy straws to surf on waves and populate our waters.

But we know that “275 million metric tons (MT) of plastic waste was generated in 192 coastal countries in 2010, with 4.8 to 12.7 million MT entering the ocean.” So perhaps a school of flying jellyfish among the summer foliage isn’t so odd…?

For this year’s Salem Arts Festival, we are creating hundreds of jellyfish from used plastic bags because….

…. sea turtles and other marine life regularly mistake plastic bags for their food, including jellyfish!

… Salem has adopted plastic bag reduction legislation that will take effect on January 1, 2018 and we want to spread the word about its significance! Perhaps the entire Commonwealth of Massachusetts can join in the clean-up effort!

Salem Public Space Project has partnered with Salem Sound Coast Watch and From the Bow Seat to use art to communicate the need for this shift from convenience to caring. Since last November we have been creating jellyfish across Salem in schools, museums, cafes, and our studio at 10 Derby Square.

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In the ocean, jellyfish are fascinating creatures animated through their hypnotic movement, as observed at the New England Aquarium. On May 31 we will install a canopy of jellyfish over Front Street. How will these plastic-bag jellyfish move in the breeze? What will they communicate? A Tidal Shift?

Join one of our workshops to make USED plastic-bag jellyfish and let’s brainstorm how we can help spread the reduction of plastic use so that plastic in our oceans won’t grow! 

Call for Salem Poets and Writers!

spsp_call-march-11-deadline

Over a dozen local photographers have chosen and photographed a public space meaningful to them. What will their image inspire you to write about a place that you know or discover in your own way?

Cards will feature a public space photo and a poem/ written reflection inspired by the photo on the other. To be launched and for sale at the Salem Arts Festival, 2017. The Public Space Cards will be packaged with a map of all locations. All proceeds will go towards recovering production cost and then divided equally among participants. (Cost TBD)

Poetry/prose submission Deadline: March 11, 2017

MAX LENGTH: 100 words / 12 lines

TO PARTICIPATE: Send a writing sample to salempublicspaceproject[at]gmail.com and we’ll get you started! 

Move With Me, a pinwheel installation

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(all photos by John Andrews unless otherwise noted) 

MoveWithMe is a community art installation of multiple sailcloth pinwheels that embodies the connection of cultures across waters and land from the past to now, moving in confluence when the wind is just right.

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Front Street

The project transforms Front Street with 369 pinwheels, many of which are hand colored with personal interpretations of cultural patterns from places along Salem’s famous maritime trade.

When still, the pinwheels look like magnolias. They begin to spin sporadically, sometimes just one on a line, at other times multiple pinwheels spin in unison. They surprise. Only intended as a three day installation, the project will stay up through October. The sun has begun to bleach the hand colored patterns, as the sun bleaches the sails of long journeys across the waters.

04_jaMoveWithMe re-uses sailcloth donated by Doyle Sailmakers. The minimal design of knotting rope, to keep each pinwheel in place as it spins on its grommet, reduced hardware. Material budget: under $300. The small budget inspires us to be resourceful and mindful in our design: do we need to buy up bulk stock from Home Depot when we can re-use waste products from a local business and also build a relationship? Do we need to buy new materials when using waste product makes much more sense for a temporary project?

Design in Conversation: transition from tension cables to ropes with slack

Design in Conversation: transition from tension cables to ropes with slack

 

As an artist and architect, how can I adapt my vision to changing circumstances? Initially, I envisioned perfectly straight lines of pinwheels in geometric contrast with the flutter of the tree canopies; this would have required strong and costly cables. The use of the rope allowed for flexibility, and creates a different relationship with the context: the pinwheels are no longer in contrast, but rather in dialogue with the organic nature of trees.

Process is Product

Process is Product: without the participation and the relationships created, there could be no community project

The pinwheels were collaboratively created at multiple workshops at PEM/PM’s Artopia, The Phoenix School, Salem Academy, Old Town Hall, and weekly workshops held 10 Derby Square.

#MoveWithMe was installed for the 2016 Salem Arts Festival, and led by Claudia Paraschiv, local architect and community artist.

The community art project transforms a familiar space in Salem through an environmentally and financially sustainable project that is in dialogue with the city’s culture and involves as many people as possible. Participate in next year’s project (TBD) starting February 2017! Sign up on our email list to get early info on participating!