travelish, part 2
On Inye
Exuding a tempered passion, warmth, and wit, I learned from Inye that Wa Na Wari (WNW) received little to no resistance in its founding. Apart from a very antagonistic next door neighbor (they would call the police, intimidate youth visiting the space, complain how loud a backyard event meant to gather and connect community was, to name a few trifles) who has since moved– “when the gentrified outlast the gentrifier” as Inye put it– Wa Na Wari has been met with exuberant support. The number of flowers and potted plants inhabiting the space from a neighbor is one of many physical evidences of the love placed here. Currently, Inye is doing deep organizing with local black homeowners to shift policies so that the Central District community does not experience tremendous barriers to do what WNW does. While local artist community might be enthusiastic to do organizing, Inye noted that some older black homeowners may be reticent to engage in deep, prolonged organizing work on the account of commitments, energy, and other factors. Due to current policy, there are several limitations as to what an artist can do with a domestic property. When re-approached to contribute thoughts to this interview Inye mentioned the following:
The allowable land use based on current zoning laws is somewhat complex. I would not say that hosting open studios is expressly prohibited; it is not. Artists Al Dogget and Esther Ervin have studios in their Madrona Park home and regularly host open studio gatherings and other small arts events. These are private and by invite only, which makes them allowable under the current law. When thinking about creating cultural spaces that are open, communal, and serve a greater public benefit, we are looking at how artists open their spaces for drop-ins and public gatherings/events. Under the current laws, this kind of activity is not allowable. This is just one example of the kind of thing we would like to be possible. Wa Na Wari has external signage, publicly advertised events and open hours, hosts large public gatherings, etc. This model is not currently allowable without going through a very expensive and lengthy re-zoning application process. A process that doesn't guarantee approval in the end.
In time, Inye hopes to eliminate these barriers. For the livelihood of this region, I dearly hope so too.
On Elisheba
Thinking of the exhibition after my initial visit, I realized that although there were no clear thematic entries to explain away the relationship between the works, it was refreshing to experience work that just made a felt sense with one another. Speaking with WNW’s curator Elisheba Johnson in an interview, those sentiments were confirmed. Elisheba describes her process as partly intuitive– thinking of the best artists locally, nationally and internationally in relation to one another with the priority to showcase the most excellent black art. When I asked Elisheba her current perspective on the work she is doing, she felt she was doing her best work. I would agree with this assessment. Part of Elisheba’s capacity to be able to produce shows of this caliber is due to the relationship building between institutions, organizers, curators, and gallerists, such as Tracy Cilona at Virago Gallery, whom Elisheba has collaborated with on exhibitions. While Virago Gallery hosts an artist’s work for one month, Wa Na Wari is able to extend the visibility of the curatorial choices Cilona is making by partnering and showing the work at Wa Na Wari. The move to produce and curate shows that run for 8 weeks is part of Elisheba’s sustainability efforts to prevent burnout.
There is a lot of love poured into this project, this space, this community and I wouldn’t be surprised at all if and when Wa Na Wari’s model becomes a litmus for communal efforts across the continents.
