Crochet Jam invites participants to communally crochet Spirit Tapestries from shredded rags, harkening back to traditional craft practices of reusing and transforming textiles. In these free, public events, artist RAMEKON O'ARWISTERS offers a public space for nourishing a sense of belonging and connection between strangers, as well as the possibility of liberation through creativity. Ramekon earned a Masters of Divinity from Duke University and is currently a curator of exhibitions at the SFO Museum and a guest lecturer at various Bay Area colleges. He was 2002 Artadia Awardee and a 2014 Eureka Fellow. If you live in the Bay Area, you can be part of Crochet Jam this fall at the following venues: Root Division (September 26, 2015) and Light Up Central Market, sponsored by the Luggage Store Gallery (Sept 30 2015). Crochet Jam will also be at the NIAD Art Center in Richmond, California on November 14, 2015. Ramekon lives in San Francisco.
OtherPeoplesPixels: You have a Masters of Divinity from Duke
University. How does this background influence the work you make? Tell
us a little about your path as an artist.
Ramekon O’Arwisters: Yes, I was in divinity school in my mid-twenties. Fortunately for me, and I believe for all of those around me, divinity students at that time were taught to be critical of the sources and not to rely on blind faith. We were taught biblical Hebrew and Greek, so we could translate from the original text and not rely on standard translations. We were taught to trust our own translations of the text, and to analyze the scriptures with regard to the historical context in which they were written. We asked questions like Who was the audience? and What was the social and political framework during that time? It was a powerful way to teach young people to be independent and self-reliant. Until this time, no one in my family had even read the bible; we had relied on the local preachers within our community to interpret for us. They authoritatively told us what to think and feel and how to act from the advantage point of the pulpit.
While I was in divinity school, I was also a practicing artist and had local-gallery representation for my abstract works on paper. As an artist, I was liberated to paint and draw whatever I had the courage to envision. And I did. I painted with the homemade grape wine. I dipped rocks and sticks into paint to make marks. Much later, I drew portraits of nude models using charred Brazil nuts.
Early in my professional ministerial training, I realized that my real job—outside of the sacred walls of academia and from the pulpit of the church—was to maintain the status quo and encourage conformity. In that role, I felt I was not meant to be an instrument of liberation but to continue to incarcerate the minds of others into an unsophisticated and dangerous, narrow-mindedness about religion. What frightened me more than the fact that I was not aiding in the liberation of others was the fact that others were hesitant to embrace a different way of understanding the bible. People outside of the university didn't want to think differently about how interpretations of the bible can cause spiritual, political, psychological and economic hardship.
It dawned on me at the age of twenty-five, that if the church was not willing to embrace new ways of viewing scripture, then it would certainly not embrace a queer lifestyle. Overwhelmed by the striking contradictions between the revolutionary and transformative teachings of Christ—love, acceptance, tolerance and forgiveness—and the present reality of the church, I decided to finish my degree and move to Tokyo to embrace spirituality through my creativity and paint and draw there. I lived in Tokyo from 1986 until 1991, when I moved to San Francisco.
OPP: Tell us about the history of Crochet Jam.
When I was growing up in North Carolina, I helped my paternal
grandmother, Celia Jones Taylor (1896–1982) make quilts. Quilt-making
with her is one of my fondest childhood memories. I was embraced,
important and special. I felt like a little black boy hiding my queer
self from my family during the harsh reality of state-sanctioned Jim
Crow oppression of black people in the U.S. and before the turbulent
years of the Civil Rights Movement that spread throughout the country.
My grandmother let me add any color or pattern I wanted to her quilt. It
didn't matter if the strip of fabric that I selected did not fit the
color scheme or any particular standard quilt-making pattern, that
wasn't important. Togetherness and sharing stories and feelings while
calmly quilting was important. There wasn’t any judgment. Our quilting
bees were calm, relaxing and peaceful, just the type of atmosphere a
confused, little black queer boy needed when the world outside of my
grandmother’s house was often negative, hostile and unforgiving.
My social practice project Crochet Jam embodies this tenderness, compassion and warmth. I decided to start a community-art project that enabled groups of people to collectively work on a piece of art in public with strangers. The focus is on relaxation and human connection. I want participants to be in a creative mindset without anyone dictating the creative process, nor worrying about the finished product. Crochet Jam is how I make liberation a form of art.
The project originally began in 2011 with small sewing events with friends that I called Stitch. I was awarded a second Individual Artist Commission Grant from the San Francisco Arts Commission Cultural Equity Grant Program in 2011 for Sugar In Our Blood, an exhibition in 2013 that was an autobiographical approach to explore society's sexual stereotyping of the LGBTIQA and the African-American communities. The community joined me weekly at my home to cut and hand sew rag rugs. Stitch transformed into Crochet Jam with my artist residency at the de Young. The museum's leadership supported my community-based project but did not want to include using needles to sew the fabric. I agreed, but I needed to figure out a way to attach the fabric without needle and thread. A breakthrough occurred when a friend mentioned to me that I was making rag rugs—you can also crochet rag rugs! Crochet Jam was born.
African American Art and Culture Complex, San Francisco
OPP: How has the project evolved over the years?
RO: For almost five years, I have presented Crochet Jam events at galleries, museums, San Francisco International Airport, a community shelter, schools, and a hospice and in cities around the country—San Francisco, Oakland, Chico, New York City, Miami Beach, and Greensboro, North Carolina. Including Stitch and Crochet Jam, I believe that I have facilitated nearly a hundred events. What has changed is that I am not as concerned any more about only hosting Crochet Jams at museums and art centers. I plan to take Crochet Jam to communities within the industrial-prison system, including youth within our government's juvenile-detention centers, foster-care facilities, domestic-violence shelters, homeless shelters, hospitals, and hospice-care centers. But I believe that I am the one most positively impacted by Crochet Jam. We all want to be liberated and not judged. I am liberated by the gift of Crochet Jam and I'm pleased to share it with others.
Santa Cruz Museum of Art & History, Santa Cruz, California
While crocheting can be wonderfully relaxing, teaching crochet to
beginners is exhausting! Do you experience social practice fatigue?
RO: Well. Let me think. I only know one type of stitch in crochet: single-stitch crochet. So I can't really say that I am a crochet artist or really a crochet teacher. I am a social-practice artist. What I do is provide an opportunity for participants to experience liberation, creativity and social interaction using the folk-art tradition of crocheting rag rugs—organic, free-form, rag-rug tapestries. Crochet Jam is very symbolic in that I provide an opportunity for acceptance and non-judgment through public, community-based events with strangers using a folk-art tradition in a non-traditional manner for a non-traditional purpose.
Crochet Jam is liberating because no one is dictating the creative process, nor judging the finished product. Once I show participants—even five-year-olds!—how to single-stitch crochet and how to attach strips of fabric, then they can add any pattern or color they want to the tapestries. They are free to be as creative as one can be using a large wooden rag-rug crochet hook and strips of fabric. I keep telling the participants, add any pattern or color you want. But they still feel the need to consult with me, seeking my approval or feedback, and I gently repeat: Please add any color you want. Some even ask, Does this look good? Is it right? My reply is, How does it feel?
I give up my perceived authority and ask the participants to trust their creativity, their vision, and trust the material to reveal what it will. We are hardwired to please others and to be judged by what we create and produce. I am very happy that Crochet Jam has come to me; it is a gift that I freely share with others. I am extremely fulfilled and grateful that I am the conduit for Crochet Jam. I can only be liberated by liberating others. For me, that is the supreme power of art—to liberate.
OPP: Two of your solo exhibitions—Sugar In Our Blood: The Spirit of Black and Queer Identity (2013) at the African American Art & Culture Complex and Communing With the Unseen: African Spiritual in Contemporary Art
(2012) at the de Young Museum, both in San Francisco—address the
intersection of identity and spirituality. How do you define
RO: For me spirituality has nothing to do with religion. Given my training, religion was about following rules, respecting authority, dogma, ritual and the mistreatment others who believed differently. Religion is antithetical to the spiritual well being of the population. Spirituality, on the other hand, is about the degree to which one is conscious, grounded, open and connected to the universal forces that create all things.
It has taken some time for me to embrace who I am spiritually, racially, sexually, politically and artistically. Family, friends, communities, societies and governments force conformity. We learn to deny who we are for the pleasure of others, ultimately for the pleasure of the state. What I feel I have had to deny the most over and above my sexuality is my spirituality. I am spirit. This statement offends the powerful because they cannot control it. Within the mega structure of the church system, the masses are controlled through dogma, ritual and conformity. Spirituality in all of its many glorious forms is a powerful thorn in the body politic.
OPP: How does your solo work and your social practice work address spirituality in different ways?
RO: In my solo work, I define what's important. I accept and take my clues from my creative vision. At one of my recent group exhibitions, the curator informed me that a friend's five-year-old daughter said that "putting a rag rug on the wall is silly." Brilliant. What makes it silly? Well, rag rugs belong on the floor, not in a place of reverence like on the wall. This concept of keeping things and, by extension, people in their places is the backbone of conformity. I accept my creativity, my vision, as a spiritual act. Similarly, my social practice allows others to be themselves, to connect with others and to be liberated in a non-judgmental environment. It takes a great deal of courage to be liberated. For me, it starts with accepting and embracing spirituality through creativity.
Featured Artist Interviews are conducted by Chicago-based, interdisciplinary artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an instructor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006, and was a 2012-2013 Mentor-in-Residence at BOLT in Chicago. Her solo exhibitions include I Still Haven’t Found What I’m Looking For (2013) at Klemm Gallery, Siena Heights University (Adrian, Michigan), Everything You Need is Already Here (2014) at Heaven Gallery (Chicago) and When Things Fall Apart, a durational, collage installation in the Annex Gallery at Lillstreet Art Center (Chicago). Stacia recently completed an installation for Chicago Artists' Coalition's 2015 Starving Artist Benefit and is currently working towards a two-person show, also featuring the work of Aimée Beaubien, for O’Connor Art Gallery at Dominican University (River Forest, IL). The show will open on November 5, 2015.