Artist(s): Ali Rufrano-Ruffner. Dr. Lisa Kay, Kianna Cooper Cecilia Secaira
Installation with wire, recycled mattress springs, string, found objects
Location: Philadelphia, PA
Hosted at: Tyler School of Art + Architecture
The small spontaneous sculptures were a group-built by individuals as a response to ideas surrounding the concept of Hope and “Why hope now?” Instead of going right back to “business as usual” we decided to slow down and make something simple. In the process it became so much more. We talked about the emotional load we have all experienced: loss, trauma, grief, uncertainty, isolation — the various degrees of the sudden and substantial impact the pandemic has had on our lives. The wire sculptures were made through workshops conducted by the artists mentioned and so many lovely people - from Temple, the North Philly Community and even up in Pittsburgh!
What we saw during these builds was amazing. It was truly a collaborative process that honored everyone’s contributions, stories and experiences. The wire represented resilience & flexibility, while the beads & found objects were tactile and had narrative qualities. As one participant put it:
“The Hope Springs Project had (people) crowding around trying to make an object. I engaged with young people who were non-“artists” — encouraging them to participate and introduce themselves to each other. What I saw during those few hours was a community of people coming together to learn about each other while satisfying their want to make something. People that came to the table strangers, would engage in conversation and then leave together making plans to do something together. I was amazed how successful this activity was, it is hard to describe the impact of this project on shy and reluctant people who are afraid yet yearn to be part of a community. I don't know how to grow this project, but I have seen how people responded so positively and would love to be involved.”
I hung all of the sculptures on the wire springs of a mattress — thinking about resourcing the directness of an object used by so many as a way to connect. So many people interacted with the installation, gave positive feedback, played, laughed, photographed, etc.