Essential Shore / Permeable Future…  Ferry Event

Essential Shore / Permeable Future…  Ferry Event

On Saturday, May 3, I had the pleasure of leading a special event aboard the ferry between Corlears Hook and Bay Ridge, organized through the Ferry Community Outreach Initiatives & Jeannine Bardo, director of Stand4 Gallery, as part of the exhibition Essential Shore / Permeable Future, curated by Jennifer McGregor. My focus for this project was the Purple Sandpipers—a migratory, medium-sized shorebird that winters along the Shore Promenade in Bay Ridge, right by the Belt Parkway. They arrive from their high Arctic breeding grounds in Northern Canada in late November or early December and stay with us until late April or early May. By the time of the event, the Purple Sandpipers had already migrated north for the season, so we didn’t get to see them. To make up for it, here is a PDF with more information about the Purple Sandpipers and details about my installation, for those who couldn’t make it to the gallery. The exhibition runs through June 21, so let me know if you plan to visit—I’d love to meet you.

This blog offers a few impressions, documentation, and glimpses—including notes from the day itself, as well as reflections and materials related to its preparation. Uncertain about the weather, I had prepared some materials in case we had to remain inside the ferry. Fortunately, it turned out to be a gorgeous, sunny day, and we were able to observe from the deck, followed by a lovely stroll on the pier and through the Narrows Botanical Garden.

The group included longtime residents of the Lower East Side, Brooklynites from Bed-Stuy & Sunset Park, and myself from Bay Ridge. While the tour focused primarily on birds and nature, I always feel it’s important to contextualize and better understand the shores we journey alongside. I gathered some basic information—some of it drawn from a previous project—to share with the group, and since we didn’t have time to cover everything during the ferry ride, I’m collecting it here as a memento.

First, the list of birds & creatures we saw along our excursion:
Double-crested Cormorant, Laughing Gull, Ring-billed Gull, Herring Gull, Great Black-backed Gull, American Black Duck, Brant, Canada Geese, Common Tern, House Sparrow, Gray Catbird, Common Grackle, Mourning Dove, Fish Crow (and their nest), Painted Turtle, Box Turtle.

Since we boarded the ferry at Corlears Hook…

Corlears Hook holds a rich and layered history, evolving from a Lenape settlement to a Dutch farm, a site of colonial violence, a bustling 19th-century port, and later, an infamous red-light district. The name comes from Jacobus van Corlaer, a 17th-century Dutch schoolmaster, and also from the shape of the land itself—jutting into the East River like a hook. In the 1820s, the area became notorious for its brothels and, according to some sources, even gave rise to the term “hooker.”

Indigenous Presence and Displacement

Originally marshland, Corlears Hook was used by the Mareckawick group of the Canarsee tribe—part of the Lenape nation—as a canoe landing site. The settlement, called Naghtongh, was covered in swamps and beach land. The Wecquaesgeek, a Munsee-speaking band of the Wappingers people (closely related to the Lenape), lived along the east bank of the Hudson in what is now the Bronx and Westchester.

On February 25, 1643, Dutch Governor Willem Kieft launched coordinated attacks on Weckquaesgeek and Tappan encampments at Corlears Hook and Pavonia (across the river in present-day New Jersey). That night, 120 Native men, women, and children were massacred—an event that remains a brutal marker of early colonial violence. More info here

Manhattan: The Name and Its Meaning

The name Manhattan originates from the Lenape language, specifically Munsee. The word manaháhtaan combines manah- (“gather”), -aht- (“bow”), and -aan, a grammatical element used to form verb stems. It’s often translated as “the place where we get bows” or “place for gathering the (wood to make) bows.” This name, still in use today, carries with it traces of the island’s original use and inhabitants.

The Brooklyn Bridge

The Brooklyn Bridge was the first fixed bridge to connect Manhattan and Brooklyn across the East River. Designed by German immigrant John A. Roebling, construction began in 1870 and the bridge officially opened on May 24, 1883. At the time, it was the longest suspension bridge in the world, stretching 1.1 miles. Before its construction, ferries were the primary means of crossing between Manhattan and Brooklyn. The bridge not only revolutionized transportation but also physically united two formerly separate cities—Brooklyn and New York—forever changing the shape of the city.

Roebling died of tetanus after a surveying accident crushed his foot, and his son, Washington Roebling, took over the project. Washington later developed caisson disease—commonly known as “the bends”—while working in the pressurized foundations. Though physically incapacitated, he continued to oversee construction with the crucial assistance of his wife, Emily Warren Roebling. The bridge took 13 years to complete and claimed the lives of 27 workers.

It’s also worth noting that U.S. Senator Henry Cruse Murphy—considered a founding father of Brooklyn—drafted the bill authorizing the construction of the bridge from his mansion, which once stood on the grounds of what is now Owl’s Head Park in Bay Ridge. He also founded The Brooklyn Eagle and served as one of its first editors, shaping both the physical and cultural landscape of the borough.

In 2005, while researching for another project, I wrote a song in honor of the Brooklyn Bridge. It was later recorded and included on my album The Bi-Continental Chowder. You can listen to the track below with photo taken then.

Liberty Enlightening the World

As the ferry continued south, we passed the Statue of Liberty. Officially titled Liberty Enlightening the World, the statue was a gift of friendship from the people of France to the United States. It was dedicated by President Grover Cleveland on October 28, 1886.

Constructed in France over the course of nine years (1875–1884), the statue was then disassembled, shipped across the Atlantic, & reassembled on Liberty Island in just four months after the pedestal was completed. The full process—from initial conception in 1865 to final dedication in 1886—spanned 21 years and required massive fundraising efforts in both France and the United States.

PAGGANK a.k.a : Governors Island

Originally known to the Lenape people as Paggank (“Nut Island”) for its abundance of nut-bearing trees, the island was later named Noten Eylandt by the Dutch, then Anglicized to Nutten Island, and finally became Governors Island by the late 18th century. In 1755, during the French and Indian War—a North American theater of the global Seven Years’ War—the island was first used as a military installation. The war saw British colonies (population ~2 million) clash with French colonies (~60,000), each side supported by different Native American allies. The French, being outnumbered, relied heavily on their Native alliances.

Bay Ridge: A Neighborhood with Deep Roots
Our final stop was Bay Ridge, located in southwestern Brooklyn—a neighborhood with a rich history dating back to the 17th century. Originally part of the Dutch town of New Utrecht, the area was once known as Yellow Hook, named for the color of its soil.

During the American Revolution, Bay Ridge played a small but strategic role due to its location along New York Harbor and proximity to the Narrows. On August 22, 1776, British troops under General William Howe landed near what is now Bay Ridge, using the shoreline as a staging ground for the Battle of Long Island (also known as the Battle of Brooklyn), the first major battle following the Declaration of Independence. The British landed just south of Bay Ridge, near Gravesend Bay, and advanced north through Brooklyn, eventually outflanking and defeating American forces led by General George Washington. The loss forced the Continental Army to retreat to Manhattan, preserving its strength for future battles.

Narrows Botanical Gardens: A Community Oasis
Established in 1995 by local volunteers, the Narrows Botanical Gardens transformed 4.5 acres of neglected parkland along Shore Road between Bay Ridge Avenue and 72nd Street into a vibrant green space. This community-led initiative features a variety of themed gardens, including a lily pond, butterfly garden, Zen garden, and a Native Plant Garden with a turtle sanctuary. It also serves as a sanctuary site for the Wild Bird Fund, offering a safe habitat for recovering and released birds. Maintained entirely by community volunteers, the gardens are a beloved oasis for both people and wildlife in Bay Ridge. They host various events throughout the year.

To me, it was a really special day—full of small discoveries, good company, and moments of connection across neighborhoods. I’m deeply grateful to everyone who joined, shared, and made time to be part of it.
Special thanks to Jeannine Bardo, director of Stand4, and to Sarah and Anika from the Ferry Community Outreach team for making it all possible.
I hope these notes, reflections, and glimpses offer something back to those who were with us, and to those following along from afar. You can view the full album of photos from the day and the exhibition here. Meanwhile à bientôt ! and keep in touch!

Poetry Project : Domopoetics Karstic Actions/Works

Poetry Project : Domopoetics Karstic Actions/Works

February 28, 2024 event at the Poetry Project, NYC .

On 02/28/2024 Pierre & I had a wonderful time presenting Domopoetics: Karstic Action/Works at The Poetry Project. We weaved & braided our individual & shared travails. Domopoetics is the name we give to 34 years of daily practices in transforming & intertwining our lives & works, be it through writing, painting, video, physical conditioning, cooking & all other shared household activities. Karstic refers to the geological phenomena of dissolution & transformation at work in the formation of superficial or underground limestone topographies. Here it is taken literally & figuratively as nature & cave explorations are an important part of our process.

Featuring a guest introduction by Urayoán Noel —who was a tough act to follow. This is the best intro we could have had! Thank you dear Ura!

Thank you  Keir GoGwilt for your inspiring & soulful improvised music.

Thank you all for coming, we were overwhelmed by the crowed room filled with a great mix of old & younger friends. 
 
If you missed it below is the Livestream of the event:

Thank you: Miles Joris-Peyrafitte, SiuLi & Chris GoGwilt for the photos.

Women and Other Wild Creatures: Matrilineal Tales

Women and Other Wild Creatures: Matrilineal Tales

Logo

I am thrilled to be included in this wonderful group show at Sapar Contemporary.
Women and Other Wild Creatures: Matrilineal Tales
June 3, 2022- July 15, 2022  —extended to August 26
Opening reception Friday June 3, 6-8pm
9 NORTH MOORE, NEW YORK, NY 10013

Yes! that is tomorrow! — or today if you open this in the morning!
So much looking looking forward to see you; it’s been too long!

Zinaida (Ukraine), Iryna Maksymova (Ukraine), Rita Maikova (Ukraine),
Kateryna Babkina (Ukraine), Aya Shalkar (Kazakhstan/US),Yerke Abuova (Kazakhstan/US),
Nicole Peyrafitte (France/US) and Susan Coyne (US).

Curated by Nina Levent, Ph.D.

June 3, 2022- July 15, 2022
Opening reception on June 3, 6-8pm

Featuring installation + Video Antediluvian Sympoiesis
pdf of installation: here

Sapar Contemporary is thrilled to present Women and Other Wild Creatures: Matrilineal Tales, a group exhibition of women artists who draw strength from the connection with the non-human nature, involving it in their healing practices and increasingly fantastical visions of human unity with nature. The show includes artists from Ukraine (Zinaida, Rita Maikova, Iryna Maksymova, poet Kateryna Babkina) and Kazakhstan (Aya Shalkar and Yerke Abuova), representing the gallery’s DNA, as well as works by French (Nicole Peyrafitte) and American (Susan Coyne) artist.

The inspiration for the exhibition came from seeing intergenerational caravans of grandmothers, mothers, daughters, and family pets migrating from the war zones, as well as the images of nature’s destruction in Ukraine: suffering trees, plants, animals of all kinds, and the whole steppe and wetland ecosystems – in addition to cultivated land. These images have been deeply felt at the gallery whose founders have family, friends, artists, and roots in Ukraine. The sense of terror brought to mind sources of strength available to women, connections that they forge across time and space, rituals recovered and re-invented in times of cataclysms. Ukrainian poet, Kateryna Babkina, contributed a poem she has written in March 2022, which was translated in English by Virlana Tkacz and Wanda Phipps for the exhibition. The poem opens with a line: Give me a brother who can protect me; woman is seeking protector and shelter, the sky responds with the final line of the poem: Make it yourself. You are on your own.

 

11 Women of Spirit at Salon Zürcher & Karstic-Action

11 Women of Spirit at Salon Zürcher & Karstic-Action

1- Kingston, NY. Cardinal (2020) 29.5 x 38.5 

2-Kingston, NY. Jaune d’Oeuf (2020) 29.5 x 38.5

I am very much looking forward to 11 Women of Spirit, a mini-art fair at Zürcher Gallery, 11 female artists representing themselves in the space. I will be showing recent Karstic-Action paintings.
Opening Reception: Monday, March 2, 6 – 8 PM
Closing Reception: Sunday, March 8, 5-7 PM
Open to the Public:
 Tuesday, March 3- Saturday, March 7: 12-8pm
Sunday, March 8: 12 – 7pm 
Galeriezurcher.com
33 Bleecker Street, New-York, NY.

 

 

Below, the video documentation & above, two paintings of our latest Karstic-Action at The Lace Mill in Kingston N.Y. Together with Michael Bisio (bass), Patrick Higgings (guitar & electronics), Pierre Joris (poetry), we wove, carved, painted, played, occupied, sung, worded , danced a 50-minute improvised action. 

Voilà! I am looking forward to see you in March and together let’s Persist Resist & Care and keep our spirits up !

The Writing of Carolee Schneemann at The Poetry Project NYC

The Writing of Carolee Schneemann at The Poetry Project NYC

Join us at The Poetry Project, Thursday, October 10 | 8 PM for a celebration of her writing!
With readings by Zohra Atash, Lilah Dougherty, Judy Hussie-TaylorPierre JorisDavid Levi-Strauss, Meredith Monk, Nicole PeyrafitteGeorge QuashaJerome Rothenberg, Cecilia VicuñaAnne Waldman.

Carolee Schneemann was a writer and artist of intimacy — bloody, feline, mortal, ancient, and tender. Her understanding of intimacy or union included the weaving of written and uttered language, movement and gesture, and the visual register of images throughout her art-making practice. And it also extended to the way she lived, in close friendship with many poets, forming community with fellow writers, artists, and makers across a number of scenes, circles, disciplines, challenging and inspiring and turning on her friends and collaborators. In a 1975 letter Carolee Schneemann wrote to a male friend attempting to explain gender and art to her, “I BELONG TO NATURE NOT TO THESE ARTIFACTS YOU CHOOSE. I AM ELECTRICAL VULVIC BOLT IN TIME.” 

Her work — simultaneously provocative, unsettling, defiant, romantic, and magnetic — has often been critically understood through sensuality and the body. While this uncompromising embodiment is crucial, in her writing we find guiding notes and framing toward a more expansive engagement with her project, always moving towards the reckoning pleasure of liberation. The writing, like her work across other mediums, is always intense, precise, rigorous, with her psychic and political senses attuned through her vision to a guiltless, boundless freedom. 

 

RSVP

The Poetry Project
St. Mark’s Church | 131 E. 10th Street
New York, NY 10003
P: 212.674.0910 | F: 212.529.2318
www.poetryproject.org | info@poetryproject.org

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