In anticipation of The Listening tomorrow, January 24, sculptor TJ Volonis shares his reflections on the Far Rockaway Redevelopment Fund’s first art project, “House of Cards.” The Fund is aimed at creating something out of the wreckage left by Hurricane Sandy and revitalizing the Rockaways. The Listening is a bi-montly acoustic listening session to raise funds to support the art projects.
My involvement with The Far Rockaway Redevelopment Fund (FRRF) is the continuation of an increasing stream of artistic consciousness and experience. It began with the curated inclusion of one of my sculptures in Art From the Heart 2012 (AFTH2012), The Vanderbilt Republic‘s artist cooperative.
Originally scheduled for November 1, Interdependence had to be postponed when hurricane Sandy rolled through the tri-state area. Undaunted, we rescheduled for the last week of November ”” and the show was a tremendous success. After the adrenaline from the experience subsided, George gathered together 3 artists from AFTH2012, including myself, and offered us the first Far Rockaway Redevelopment Fund commission.
My first reaction was doubtful, but I wanted to get more information. Since I respected my potential collaborators, I opened myself to the current and flow of the Far Rockaway Redevelopment Fund. Our first order of business was to scout the Rockaways to understand the situation on the peninsula and gather ideas for materials and locations. The trip out proved to be a powerful mix of impressions. Certain parts were very visibly damaged: buildings lifted off of foundations and slammed into others, whole city blocks of houses razed to the ground, piles of rubble piled wherever possible, boats left on high ground far from their slips, the walls of beachfront properties licked clean from the structures exposing each floor of their dollhouse interiors.
We knew that every structure on the peninsula had to be heavily affected, but many seemed almost normal from the outside; it was disturbing.
When Athena, Vanessa and I came back and met as a group we discussed various ideas and what imagery and message we intended. The process was very organic and smooth, moving from one concept to the next until we decided to merge several different ideas into one. It really addressed the disconnection we saw between what nature intends and how humans have decided to live.
When George reviewed the proposal, he stripped much of it away, highlighting the core concept – a house of cards.
Planning and scheduling took longer than I’d hoped: the date we originally chose had to be delayed another week due to inclement weather. Ultimately, we started building on January 3rd and finished on January 4th. The first day was spent driving around in a van scouring Breezy Point for building materials. Since we had the basic structure in mind we were able to give ourselves direction as to the kinds of materials we were looking for. My team members saw potential in materials I didn’t think relevant but ended up contributing to a much richer sculpture.
Letting go of my expectations was very challenging but tremendously enriching personally as well as creatively: it all came together. In our preliminary discussions we had decided on siting the piece in the Beach 130s: the unreal scenery of eviscerated homes was a perfect setting for the sculpture. Their violently exposed interiors gave an inarguable sense of how fragile and subservient we are to the forces that truly rule our planet.
All throughout this process I was a nervous wreck. When we were scavenging materials I was sure someone would come up to us and ask what we were doing and get angry, or claim that we weren’t allowed. Or worse, that the police would see us and take us in for questioning. This apprehension was with me throughout.
We started the physical building after lunch on January 3rd, which was a very smooth process of mapping out each “card” while adding creative flourishes from the remains of human habitation. We were fortunate to have been joined by someone outside the project (Anthony Illiano) who was able to ask very pertinent questions from a position of little bias that greatly helped clarify the final structure. Everyone worked collaboratively and independently at the same time, guided by a shared vision. As the sun set on the first day of construction, I was feeling much better because we were actually building something. It had been couched in so much theory and debate, but now it was taking shape.
We rode the train home together and agreed to meet early the next day at the van, which we parked in the Roackaways overnight. The next morning we finished building the panels, painting certain ones green and others blue for visual effect. The paint dried while we ate lunch and warmed up ”” the beach in early January is COLD! This gave us a much-needed respite to gather our energies for the final push: we had until 5pm (sunset) that day to erect the project and get pictures of it. My other team members made a flyer and passed it out to the businesses along Beach 116th street, the hub of the Rockaway community. Time was slipping through our fingers and I began to get nervous that we wouldn’t have enough time to join the panels together and put up the piece. We raced back to B138 and began to furiously construct the sculpture, the entire piece on its side in the sand.
There were a host of small problems that cropped up (they always do!) but we solved them as a group, completing the sculpture, and then discussing how to best stand it up. Then, all together, we hauled the sculpture to its feet right as the sun began to slip under the horizon… and it STOOD! There was such an overwhelming sense of accomplishment and relief that we had done it! We furiously photographed our House of Cards as the light slowly muted and faded.
Looking back on it all, the process was epic, teaching me so much more than I could have anticipated ”” the rewards have been tremendous. I could have never imagined that I’d be involved in a project like this; I’ve been a solo studio artist for my entire career. Through the experience of conceiving and constructing this House of Cards, I’ve really come to understand the power of collaboration, communication and community.
Our curated events picks for this week: Making Room: New Models for Housing New Yorkers at MCNY, The Listening fundraiser for the Rockaways, 16mm cartoon screening with The Obscura Society.
MONDAY, JANUARY 21: When World War II broke out, New York was a cosmopolitan, heavily immigrant city, whose people had real stakes in the war and strongly held opinions. Join curator Marci Reaven for a tour of the new exhibition WWII & NYC as she explains the impact of the war on the city, which played a critical role in the national war effort, and how the city was forever changed. 11am at the New York Historical Society, 170 Central Park West (between 76th & 77th). $18 members; $30 general public. Buy tickets here.
TUESDAY, JANUARY 22: The Kitchen L.A.B. with Jacob Kassay, Ralph Lemon, Tristan Perich, Lynne Tillman, Eric Dyer and Maggie Hoffman. The Kitchen L.A.B. is a new program devoted to presenting, discussing, and developing interdisciplinary works revolving around themes of common interest to artists in different fields””and, more specifically, considering the meaning and uses of specific words in contemporary art. 7pm at The Kitchen, 512 West 19th Street. FREE. RSVP on Facebook.
WEDNESDAY, JANUARY 23: Making Room: New Models for Housing New Yorkers showcases innovative design solutions to better accommodate New York City’s changing, and sometimes surprising, demographics, including a rising number of single people, and will feature a full-sized, flexibly furnished micro-studio apartment of just 325 square feet — a size prohibited in most areas of the city. Visitors to the exhibition will see models and drawings of housing designs by architectural teams commissioned in 2011 by Citizens Housing & Planning Council, in partnership with the Architectural League of New York. The exhibition also presents winning designs from the Bloomberg administration’s recently launched pilot competition to test new housing models, as well as examples set by other cities in the United States and around the world, including Seattle, Providence, Montreal, San Diego, and Tokyo. Museum of the City of New York, 1220 5th Ave. Suggested admission: $10 adults; $6 students/seniors.
THURSDAY, JANUARY 24: The Vanderbilt Republic and Untapped New York proudly present THE LISTENING: Vol. II. A Listening Session & Fundraiser for the Far Rockaway Redevelopment Fund. Arin Maya 8pm, Artist Talk 8.30pm, Helioscope 9pm, Batala NYC 9.30pm. Featuring an installation by Athena Azevedo, Vanessa Gonzalez-Bunster & TJ Volonis, Curated by George Del Barrio. Doors 7pm at Gowanus Loft, 61 9th Street, Brooklyn. $20 advance / pay as you can at the door. Buy tickets here.
Also on Thursday: Paolo Ventura’s luminous and haunting photographs function as architectural relics of the imagination, portraying characters and scenarios that are magical, poignant and strangely familiar. Referencing history, art and the subconscious, Ventura’s “invented worlds,” as he calls them, tell stories — some of which he was told as a child by his father, an author of children’s books, and others imagined by the artist himself. Ventura creates his otherworldly photographs by constructing intricate miniature sets and then photographing them, first with a Polaroid for reference and finally with a Pentax 6 x 7 camera. 6-8pm at the Italian Academy for Advanced Studies, Columbia University, 1161 Amsterdam Avenue. FREE. RSVP here.
FRIDAY, JANUARY 25: Join archivist and projectionist, Tom Stathes, for a special screening celebrating the seasons with The Obscura Society. As Winter 2013 draws on, Tom Stathes has curated animated cartoons from the 1920s-1930s for every season of the year. Searching his vast stacks of 16mm animation rarities and Tom has hand-selected a wide array of gems: frolicking Springtime fun and hot Summer calamities for those with a warmer temperament, and breezy, cool Autumn shenanigans as well as snowy Winter escapades for those who relish the cold months. For a glimpse into past visions of the seasons as depicted by the merry-makers of early film animation, come enjoy the latest screening—shown in real 16mm film, with a real projector—a unique experience you’ll be sure to enjoy! 7:30pm at The Observatory, 543 Union Street, Brooklyn. $12. Buy tickets here.
SATURDAY, JANUARY 26: 100 years ago, in 1913, Grand Central Terminal opened its doors to the public and on August 2, 1967, NYC’s recently established Landmarks Preservation Commission designated the Terminal as an official NYC landmark. Join LANDMARK WEST! and The Museum of the City of New York as we celebrate the centennial and discover why this impressive structure is so very worthy of that designation. A Landmark designation is not to be taken for granted: if it was not for fierce and unwavering preservation advocacy, NYers and citizens of the world would be deprived of this building’s splendor today. 1-3pm inside the Atrium of 120 Park Avenue (opposite Grand Central). $20 members; $25 non-members. RSVP to firstname.lastname@example.org, or call 212-496-8110.
SUNDAY, JANUARY 27: During its six-month run, Frej was an unlikely phenomenon: a seventeen-seat New Nordic pop-up serving a $45 tasting menu Monday through Wednesday in a Williamsburg design studio. Aska, its newly expanded replacement, has gained two extra nights of service (Sunday and Thursday), an additional twelve-seat dining room, and a new partner, general manager Eamon Rockey, whose cocktails share a Scandinavian-inspired, herbal sensibility with chef Fredrik Berselius’s cuisine. The prix fixe menu, now $65 for six to eight small-plate courses, integrates plants like yarrow, lichen, and seaweed, focusing on vegetables and often treating protein as a garnish. 6-10pm at Kinfolk Studios, 90 Wythe Avenue, Brooklyn. $65. RSVP email@example.com