Art workshop: pushing kids to understand slavery

The eighth-graders seemed to enjoy an art workshop I led recently at the Bellevue Big Picture School. Many of them put in a great deal of care to create backgrounds for their paper dolls, incorporating pictures of their relatives in Civil War-era clothing. With that in mind…

…I told them to hand their work to the student on their left — and let that classmate rip up all but a two-inch square of their collages.

The project was part of the students’ examination of American slavery in the novel Copper Sun. I wanted the kids to think more about non-physical abuses of power and control. It’s easy for them to empathize with the indentured and enslaved characters who barely have a scrap to call their own. That’s one thing.

It’s quite another thing to see yourself as the bad guy in the story: the one causing harm to another for fun and profit.

This is why I wanted each student to witness their work being destroyed, and also to rip up someone else’s collage. Some students rebelled at first, but eventually gave in, giggling uncomfortably as they tore paper.

I also wanted them to think about institutional racism, which the students already witness in their own lives, perhaps at an art museum. I pointed out that museums are not neutral spaces; the organization decides which art is worth exhibiting, and that usually means lots of work by white men. So after the kids used the paper scraps in a final collage piece, I had them create “wall text” that prioritized the student-artist’s imaginary owner, and compared the work to an iconic artist.

There’s a possibility I might teach this class again next year, but don’t tell this year’s seventh-graders. I want them to be surprised.

Workshop prep: Here comes the "Sun"

Guess what I’m going to be doing, once the fog lifts? Sealing a massive amount of wood panels — about 80 of them — for a class I’m going to teach next week.

I’ve partnered with the Bellevue Big Picture School to create a collage project based on the book “Copper Sun,” which some of their eighth-graders have been studying. The historical novel centers a young West African girl swept up into the North American slave trade. Intense, but I’m told the students are diving into the story of a girl who’s almost exactly their age when she’s kidnapped and sold.

So this weekend I’ll be elbow-deep in matte medium and paper, as well as the other materials I’m going to bring to class. Cross your fingers that the sunny weather holds… I need these panels to dry fast!

New work: "Denier"

You know that feeling when you take the last step on the stairs, and it turns out there is no step and your foot comes down extra hard? That unexpected jolt, tinged with chagrin? Now imagine the missing step was a friendship you thought you could rely on: how much worse would that feel?

I’d felt that way about My Fellow Americans in general, and certain people in particular, over the past three years. Even my past seems to have been overwritten by these… interesting times in which we live.

Of course, I’ve picked up the fragments of this trust and rebuilt what I could, in a kintsugi kind of way. I can’t live with unrelenting suspicion of everyone I meet for the rest of my life. I wonder if all of us are in denial, but for very different reasons. I consider this new collage, “Denier,” a warning to myself as well as others.

Speaking of broken trust, one of my previous works has been accepted to the upcoming exhibit “Fracture” at the Kirkland Arts Center. I appreciate that I’m not the only person thinking about cracks in what we used to think was stable.