Sometimes art speaks louder than petitions and public meetings.
The creators and partners in “FENCELINES: A Collective Monument to Resilience” believe their project can. The Richmond community-based art project is designed to amplify the voices of those who, for generations, have lived with the effects of pollution from the giant Chevron refinery in “fenceline” neighborhoods.
Co-creator Princess Robinson, who grew up in and works in a North Richmond fenceline community, met artist and architectural designer Graham L.P. during a beautification project at Wildcat Canyon. They became friends, and began brainstorming on an art project to generate awareness of the multiple health problems affecting the generations who have lived next door to the refinery.
“This gave me a way to express myself that was not through politics,” said Robinson.
In turn, Graham L.P. contacted friend and fellow artist Gita Khandagle, with whom he’d collaborated on a number of projects centered in Richmond. “He reached out two years ago, looking for a way for the fence [itself to become a way] for people in the community to share their voices and their stories,” Khandagle said.
Quickly, other community organizations began to come on board: Robinson’s employer Urban Tilth, Rich City Rides, Communities for a Better Environment (CBE), Asian Pacific Environmental Network (APEN) and Richmond Our Power Coalition, among others. Richmond LAND was also a major partner, tying the project to its organizational mission as a member-based organization led by women of color “dedicated to creating pathways for everyday people to organize, acquire, and co-steward land and properties as community assets to build staying power, now and for the future.”
“We didn’t think the project would get this big,” Robinson said. But it did.
The co-creators decided to use wooden slats, on which community members could write messages and/or paint images. “We were working on drawings that ‘crossed out’ the refinery,” said Khandagle, resulting in the “X” shape used for the slats.
“X is a shape of resistance,” said L.P. “Princess and her family made the first prototype, and we took the first portrait of them. That became the format.” He explained that the partners then created an info packet so that people could read about the project and its goals.
Beginning in summer 2022, the creators worked with Green Waste Recycle Yard & Millworks in North Richmond to produce the fence slats from local reclaimed urban timber. The slats were given to people during public workshops, and participants then used paint pens to create their messages and designs. “The colors are primarily reds, yellows, blues, black and white…this is a reference to many activist movements,” said Khandagle.
During the workshops, many of which were sponsored by the community partners, the materials were set out alongside the prompts: “What message do you have for the polluting industry here in Richmond?” and “What vision do you have for your community in the future?”
A quote by Robinson used in the packet reads: “We are here, we want to be seen, and we are lending our hand to make all of these initiatives work to end pollution of our communities.”
Katt Ramos, managing director of the Richmond Our Power Coalition (ROPC), noted that there was great enthusiasm for the project when it was brought to ROPC a year ago. By that point, the project had already received a first round of funding from the City of Richmond’s “Love Your Block” program, “and we saw it as a fun and creative way to advocate,” she said. More grants supporting the project eventually followed, including a Southern Exposure: 2021 Alternative Exposure Grant and a California Arts Council Impact Grant.
ROPC members hosted workshops, and “people came to the tables eager to participate,” said Robinson.
“I was constantly surprised and moved by what people contributed…how many folks spoke about what they were doing for self-care,” said L.P. “Messages were expressions of love, some including initials of all the family members, including deceased ones.”
Workshop sponsors also sent people to workshops at yet another partner in “FENCELINES”: the Richmond Art Center (RAC). “Graham, Gita and Princess proposed an exhibition here,” said RAC exhibitions director Roberto Martinez. “It was timely and appropriate. We want to use the power of art to engage conversations in the community.”
“FENCELINES” had now developed two components: the temporary installation that would go up on Earth Day, Saturday, April 22, at the Richmond Parkway Bay Trail between Gertrude and Vernon Avenues, in partnership with Richmond LAND, and an in-gallery exhibit opening at the RAC on April 5 and running through June 3.
“The temporary installation will bring color and life into a neighborhood shadowed by Chevron,” said Martinez. It will be publicly accessible from the community and visible to passers-by along the parkway. The installation will be in place for two weeks. Many of the project partners will also participate in the Earth Day ceremony and festivities.
The Earth Day installation of the slats will take place from 10am-4pm on the city-owned fence. At this time, ribbons will be attached to the tops of the slats, demonstrating to viewers the direction of the wind as it blows into the fenceline community from the refinery.
The RAC exhibit will contain some of the more than 1,000 slats that have been created, along with the photo portraits taken with them. Visitors will also have the opportunity to create their own slats. “These words and messages are the heart of this work, documenting the impact of the petroleum industry on many lives, and together forming a collective monument to resilience,” state RAC materials.
The center is also printing a life-sized mural of the portraits, said Martinez. Yet another gallery element will be a five-episode podcast based on a “listening project on environmental injustice” conducted by the Richmond Progressive Alliance.
A special “Spring Family Day” on Saturday, April 29 offers a chance for younger community members to participate. Called “Clean Air in the Wind,” kids and parents will be able to make slats together. One of Khandagle’s strongest impressions of the whole project has been “a lot of inspiration and powerful voices from the younger generation,” she said.
“All of this is so our kids can have a future that isn’t burdened with asthma and other respiratory illnesses,” said Ramos.
Will Chevron react to the installation and exhibit? Several of those interviewed expressed the hope they would spark dialogue with the refinery. “We all need to be at the table together, planning for the future,” said Robinson.
But Ramos said, noting that Chevron has proposals before the City of Richmond and Costa County County to expand the refinery facilities, “Chevron has made inflammatory statements about some of our members on their corporate media [in the past].”
In its March 15 posting about the exhibit, Chevron’s in-house media outlet, The Richmond Standard, made no mention of the project’s connection to the refinery, stating only that it is “a ‘community-based participatory art project’ centered on environmental injustice in Richmond.”
The “FENCELINES” co-creators and partners are looking to the future and focusing on the project’s potential impact.
“We hope it will spark curiosity in this issue, and encourage people wanting to learn more. We are all within this…it’s a Bay Area issue,” said Khandagle.
“Art has a beautiful way of conveying that we are not at opposite ends. We can express our hopes and dreams without pitting people against each other,” said Ramos.
“First of all, we hope it will bring visibility to the environmental racism of this circumstance, and the ways people can participate in changing it. And I hope they will think it is beautiful,” said L.P.
In fact, the “FENCELINES” projects are launching just at a time when a new UN report issues strong warnings about what will happen if the world’s countries refuse to take immediate action on climate change.
UN Secretary-General António Guterres, speaking to the press on March 20 about the Synthesis Report of the Intergovernmental Panel on Climate Change, included, among many other recommendations:
• Ceasing all licensing or funding of new oil and gas—consistent with the findings of the International Energy Agency.
• Stopping any expansion of existing oil and gas reserves.
• Shifting subsidies from fossil fuels to a just energy transition.
“This [project] is a milestone in this time as we speak about more formal attempts at transitioning away from the refinery,” said Ramos.
Top image: CLIMATE OF CHANGE ‘The Temporary Installation Will Bring Color And Life Into A Neighborhood Shadowed By Chevron,’ Said Martinez. (Photo Courtesy Of Graham L.P., Gita Khandagle)
Four week class ran Saturdays, 10:00am – 12:00pm PDT from February 25 to March 18, 2023
Teaching Artist Eli Africa created this fun video of students in ‘Don’t Blink Ink’; his class exploring permanent ink drawing techniques at Richmond Art Center.
Recently at Richmond Art Center instructor Maxon McCarter and students got creative with copper in the metals studio (see photos below by Elaine Moreno).
Do you like sculptural art and jewelry? Want to learn how to shape metal to create something amazing? Check out these classes starting soon at RAC…
Intermediate Jewelry
Practice and refine your skills using a jewelers saw, shaping techniques, textures and finishing with patina and polishing.
Do you dream of making your own silver creations? Then join us in this exploration of silversmithing and get started making your silver dreams come true.
An introduction to working with bronze and silver metal clay. Projects will include pendants, rings, stone setting and mold making with a focus on different methods for creating, firing and finishing designs.
Check out the Spring Catalog for information about upcoming classes, exhibitions and special events. CLICK HERE to see the catalog online, or pick up a copy at Richmond Art Center.
A Message from RAC’s Executive Director
Hello Friends,
Sunny weather is coming and we have a couple of “not to be missed” events at Richmond Art Center this season. First, it’s Spring Family Day. This time, this free event will celebrate advocacy for environmental justice through art-making. And then in April, it’s the West Contra Costa Unified School District Student Art Show. It always astonishes me to see the incredible artistic talent of local middle and high school students. And this year marks the 57th year of the exhibition.
Meanwhile, a new and exciting class is launching: blacksmithing! It will be held in the courtyard to keep everyone safe (and no need to carry your own anvil!)
Finally, a few weeks ago we were happy to welcome to Richmond Art Center Tony Tamayo, Chief of Staff to Richmond’s Mayor and B.K. White, Public Policy Director in the Office of the Mayor. Tony and BK toured our facilities and we talked about upcoming events and how the Office of the Mayor can assist RAC in its efforts. We are so appreciative that the Mayor’s Office visited us during their busy transition time. We look forward to a great relationship with them.
Join us at Richmond Art Center to celebrate one last time our winter exhibitions! We’ll also be having a free photo session with ENOUGH Considered and hosting a visioning session for the establishment of an Arts Council and an Arts & Culture Strategic Plan for our county.
What’s Happening:
Visioning Session for Arts & Culture in Contra Costa County, 10am-11:30am | More info…
Art of the African Diaspora Closing Party, 2pm-4pm | More info…
Connected Always and Remembrance Project Closing Reception, 2pm-4pm | More info…
ENOUGH: Photo Portrait Session, 2pm-4pm | More info…
ANNOUNCING: Spring Exhibitions at Richmond Art Center April 5 – June 3, 2023 Richmond Art Center, 2540 Barrett Avenue, Richmond, CA 94804 Gallery Hours: Wednesday-Saturday, 10am-4pm Exhibitions and events are all free and no rsvp is necessary
Fencelines is a community-based participatory art project that invites local folks to reflect on the circumstances of environmental injustice in the city of Richmond. The exhibition is centered around portraits of community participants and aims to amplify the work of local environmental justice organizations and provide opportunities for visitor participation and discussion.
Central to Fencelines is a public art installation along a city-owned fence bordering the Chevron refinery and the North Richmond residential neighborhood immediately downwind of it. A special installation event will be held on Earth Day, Saturday, April 22, at the Richmond Parkway Bay Trail between Gertrude and Vernon Avenues.
Fencelines is co-created by Graham L.P., Princess Robinson, Gita Khandagle, and members of the Richmond Community.
Photographer Ruth Morgan presents a selection of evocative photographs that document the devastation of Greenville, CA after it was burned down by the Dixie Wildfire in 2021. Officially caused by a Pacific Gas and Electric Co. equipment failure, the fire was fueled and exacerbated by man-made climate change along with overgrown forests caused by decades of fire suppression and population growth at the edges of forests. In this exhibition Morgan’s large 40 ”x 60” prints envelop the gallery composing a requiem to Greenville and a warning for us all to meet the challenge of climate change and ensuing global warming.
In the first exhibition of The Greenhouse Series, artist Tanja Geis displays mesmerizing cyanotypes of painted decomposing common murres, a bird species that experienced historic die-offs along local coasts in the summer of 2015 as a direct result of global warming. With carcasses of starving birds, ocean litter, and mud ridden with local toxins and heavy metals, Geis reassembles the components of decay into new forms, new bodies, new life.
The Greenhouse is a three-part exhibition series at Richmond Art Center that focuses on the climate crisis and environmental justice movements in Richmond, CA. The Greenhouse is organized in partnership with Round Weather, a nonprofit art gallery in Oakland, and curated by its director Chris Kerr.
Exhibition: April 5 – May 13, 2023 Reception: Tuesday, April 18, 5pm-6:30pm (Award Presentation at 5:45pm)
Now in its 57th year, the WCCUSD Student Art Show presents work by over 300 students from 15 different schools. This teacher-curated exhibition demonstrates best practices in delivering an art-based curriculum. It also represents Richmond Art Center and WCCUSD’s shared vision that art education is a crucial component of a thriving and productive society.
Participating Schools: Betty Reid Soskin Middle School, De Anza High School, El Cerrito High School, Fred T. Korematsu Middle School, Helms Middle School, Hercules High School, Hercules Middle School, John F. Kennedy High School, Mira Vista School, Pinole Middle School, Pinole Valley High School, Richmond High School, Montalvin Manor, Stewart Elementary School, Vista High School
Above image: Artwork by Meghan Shelby Reisbord, El Cerrito High School
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About Richmond Art Center
Richmond Art Center has been sharing art and creating with the community since 1936. Our programs encompass classes, exhibitions and events at our facility in downtown Richmond, as well as off-site activities that bring free, high-quality art making experiences to WCCUSD schools and community partners. richmondartcenter.org
Kimberly Ross joins Richmond Art Center’s staff team with extensive experience in the fashion industry, as well as entrepreneurial endeavors in event production and image consulting. As Public Programs Coordinator Kimberly will coordinate the volunteer program and special events, as well as support front desk activities. Kimberly is a Richmond native, with roots in Oakland and San Francisco.
Say hello to Kimberly at the front desk next time you are at RAC!
Or connect with her at kimberly@richmondartcenter.org
Did you know we have a school tours program? Bring your class to Richmond Art Center and enjoy a guided tour of current exhibitions. Students also get to visit studio spaces and engage in an art-making activity.
(Psssst Richmond youth organizations, groups and schools can book a tour for FREE thanks to funding from California Arts Council)
Three woven baskets hold round pillows, each painted with a bright sun-like geometric design. On the wall behind them, scrawled in curly cursive, is the message, “Hug a pillow/ Hug your ancestors/Notice, feel, breathe.”
When she was a teen, Amanda Ayala’s middle school teacher took her to her first art museum in San Francisco. Ayala hated that she couldn’t touch the art.
Today, she loves museums, but longing to touch the art is still the hardest part, she says.
At Ayala’s first solo show, “Connected Always,” at the Richmond Art Center through March 18, this rule doesn’t apply. Guests are invited to touch her work.
A visit to Ayala’s home in Santa Rosa further reveals why she wants her art to be tactile.
Ayala lives with her sister and parents in the home where she was raised. Before we sat for an interview, she showed me the house, pointing out additions and upgrades her father has made.
The living room is a carport he converted. He added a covered patio. In the garden, dozens of plants he potted hang from structures he built.
“I consider my dad an artist and craftsperson. You can touch everything he makes,” Ayala says.
Ayala’s home overflows with her art-making. A few times during the conversation, she mentions appreciating her family’s support and permission to take up shared space in their house.
She speaks of her parents with tremendous love and admiration, even as she notes that living with them as an adult can be challenging.
“Connected Always” captures both Ayala’s youthful spirit and timeless wisdom, captivating her audience with an interactive, multimedia exhibition focused on one’s ancestors.
Praying Over Ancestors
Ayala’s interest in her own ancestors emerged after she began Aztec dancing more than 12 years ago.
“I started dancing in ceremonies as a way of praying and connecting with my community and with the spirits of my ancestors,” Ayala says.
Although she had limited knowledge of her own ancestor’s stories, the impact of one’s ancestors—both blood relatives and chosen family—was impressed upon her, as was the understanding that she will be an ancestor with an impact on generations going forward.
She has researched her own family history, but the stories she can find are limited. Ayala’s mother is a fourth-generation Xicana whose ancestors are Yaqui. Her father migrated from Michoacan to Mexico City and then to northern California in his late teens.
“I don’t have access to everything I would like to know. People who are targeted by different oppressions have different access to their ancestry,” Ayala says.
EMBRACE Guests are invited to hold a pillow to hug seven generations of their ancestors. Photo by Chelsea Kurnick.
The Ancestor Wheel
A few years ago, Ayala saw an infographic about ancestral mathematics and wrote about it in a journal.
Many people would be embarrassed to share their personal journals even with close friends, but not Ayala. The journal in which she first started thinking about the ancestor wheel is on display at “Connected Always.”
To be fair, most people’s journals don’t look like Ayala’s, which combines diaristic writing and scrapbooking with collage and painting.
She hand-sews the pages together with big, visible seams, often creating books that fold like an accordion rather than with pages that turn. Her bookbinding techniques replicate and honor Mesoamerican books.
Ayala took the ancestry infographic she saw and started sketching what seven generations of parents would look like, depicted in a circle. Across seven generations, that’s 254 people.
Images similar to Ayala’s ancestor wheels are easy to find online, but always in the context of an infographic; they never make the leap to artistic design.
Ayala creates her wheels as complete circles, starting with two halves in the center to represent parents. Each previous generation fans out from this center. The result is an eye-catching abstract pattern reminiscent of a compass.
The image of the ancestor wheel repeats throughout Ayala’s exhibit.
“Soft Landing,” the largest wheel in the exhibit, is almost seven feet in diameter. A nod to the textile part of Ayala’s practice, it is made of a satin tablecloth and canvas tarp, sewn together with thread, stuffed with pillow fluff and dyed with pink and yellow fabric ink. It is in the center of a large wall in the gallery, with hundreds of hand-dyed silk pieces hanging around it.
On Instagram, Ayala shared a timelapse process video revealing what it took to make “Soft Landing.” The fabric is taped to the floor of her living room, filling almost the entire room as she sketches it. In the caption, she says that after a sleepless night spent stuffing it, she laid on top of it feeling grateful, exhausted and amazed.
Roberto Martinez, exhibitions director at Richmond Art Center, says that “Soft Landing” is one of the most popular parts of the show.
“The colors are rich, and it’s so big that I think it’s almost shocking to people when they enter,” Martinez says. “But then when you touch it, it allows you to land in this place of connection, surrounded by softness.”
Martinez met Ayala several years ago through Oakland’s Chiapas Support Committee (CSC), which educates about Chiapas and Zapatista communities through an annual festival of Zapatista art called CompArte.
When there was a CSC talk at California Institute of Integral Studies, Ayala created an altar that Martinez says set the tone for it.
“The altar was a space we could all connect around—to express honor and reverence for the land we’re on, and also for the energies we were bringing into the space,” Martinez says. “I thought it was pretty incredible.”
Ayala’s collaborators at CompArte knew about her ancestor wheel project. As he planned this winter’s exhibitions at Richmond Art Center, Martinez realized that “Connected Always” would be a great fit.
Alongside Ayala’s art, Richmond Art Center is showing a large annual group show, “Art of the African Diaspora and The Remembrance Project.” The latter, presented by Social Justice Sewing Academy, is described as, “a cloth memorial of activist art banners commemorating the many people who have lost their lives to systems of inequity and racist structures.”
Martinez says he is moved by Ayala’s ability to visualize the magnitude of interconnectedness.
“I thought Amanda’s ability to create space for us to show care for one another would work really well [alongside the other shows], which gets us thinking about our ancestors, our neighbors and people affected by systemic violence,” Martinez points out.
Recently, Ayala visited the show to meet with Martinez about an artist talk and journaling workshop that happened on Feb. 18.
A school teacher approached Ayala and told her that her students really loved the show. Their favorite part? They could touch the art.
‘Connected Always’ is on display through March 18 at Richmond Art Center. There will be a closing party on March 18 from 2-4pm. Admission is free. richmondartcenter.org.
Top image: ENVELOPED Amanda Ayala wraps herself in purple silk she dyed in her yard. Photo by Chelsea Kurnick.
