Nourishing Reciprocity: Artists in Collaboration

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Project Update:  May 18, 2024 Shinnecock Hills, NY.

Preceding: February 28, 2024; May 10, 2023; June 16, 2022  “We are excited to announce Nourishing Reciprocity: Artists in Collaboration.”  

Hope Sandrow, open air studio Shinnecock Hills spacetime with Kelly Dennis, Jeremy Dennis, Brianna Hernandez Baurichter, Ma's House, and Denise “Weetahmoe“ Silva-Dennis

Friday, June 10, 2022

(above) Brianna Hernandez Baurichter Aquí Descansamos , a living cemetery realized in a Mixed Media installation size variable  2020 ongoing; Kelly Dennis, 2003 Medicine Wheel Musháyu, Mixed Media 8’ x 12’  — “mushayu” meaning large in Shinnecock Algonquian language dialect; Hope Sandrow, Portrait of a Chicken as an Egg (Candled) within A Golden Rectangle open air studio spacetime 231pm Aug 27 2017 , 2019, Unique Pigment Print on Cotton size variable, Private Collection; Jeremy Dennis, The Moon Person, 2017 Digital Color Print 24” x 30” Collection Hope Sandrow.

Denise “Weetahmoe“ Silva-Dennis Shinnecock Nation Seal Beaded Cape,  2008

Our collaboration originates from gratitude as Hope shares her Hens’ eggs - more than 13,000 since the COVID-19 (2020) ecosocial crisis’ - with the Shinnecock Tribal community through reciprocal relationships with Shinnecock siblings Kelly and Jeremy, their mother, Denise, and Brianna,” according to Kelly Dennis.“ Participating in Indigenous cultural expression highlights the environmental benefits of food sovereignty, decolonizing our diet, sacred nourishment, and eating mindfully, sustainably in connection to Shinnecock ancestors whose traditional relationship with the land and all living things is reciprocal”.  

Nourishing Reciprocity embodies the landscape of our daily lives. Shaped by culture and time: ten thousand years ago chickens were first domesticated; Shinnecock Ancestors settled in Eastern Long Island. (1859) More recently tribal members were forcibly moved by the state to an 800-acre “Territory/Reservation”, where Ma’s House is located within this federally recognized (2010) sovereign nation, on a low lying peninsula vulnerable to rising waters

Nearby, atop windblown hills within the Shinnecock Cultural Resources Protection Area (2021) are Sandrow’s home/studios on lands where her path crossed with a white Padovana Cockerel (2006), a chance encounter when he followed her home. The two carriage/gatehouses (1891) are within the 1,920 acres seized during the Town’s white land grab. One structure designed by Stanford White for Artist, William Merritt Chase (1891-1914) whose painting “Shinnecock Indian Girl” (1897) is Silva-Dennis’s aunt. (Renamed) “The Cottage” is shared with artists-in-residence (2022) to (re)consider the present - where eight grave markers remain visible surrounded by 2,188  residents, 763 private households in Shinnecock Hills  - juxtaposed to the past, Ma’s House and the broader context of forced removal.  

As we can only solve problems together, our creative engagement with colleagues, neighbors, institutions, public officials, and Shinnecock Nation regenerates exchange, understanding, and respect. Toward the restoration of waters and wooded lands, a critical habitat for native wildlife, including chickens and migratory birds along this Atlantic Flyway - to a natural, less-cultivated state. The vital role of artists is highlighted by Hope’s founding, with former Town Supervisor, Jay Schneiderman (2017), and chairing the Southampton Town Arts and Culture Committee of which Jeremy is a member.

“The Town of Southampton has already begun to feel the effects of climate change, resulting primarily from increased carbon emissions and greenhouse gases… Severe storms, hotter summers, coastal flooding, rising water temperatures affecting  the quality of life in general are all more common occurrences.”

Southampton Town Climate Action Plan, Dec 2023  

“Early on, a particularly heartwarming development has been the successful incubation and care of hen eggs by me and Brianna at Ma’s House,” states Jeremy. “From the eighteen chicks that hatched from Hope’s Hens eggs in October 2022, nurtured through the winter in a newly constructed coop, to the pullets now hens laying eggs, this cycle of life symbolizes the project's essence. The chicken coop, integrated within Ma’s House's vibrant ecosystem of beehives, stands as a testament to sustainable living and community nurturing. Kelly's upcoming solo exhibition at Ma’s House & BIPOC Studio promises to be a highlight. Showcasing artworks birthed from our project's journey, this exhibition will offer the community a profound insight into the themes of reciprocity, sustainability, and interconnectedness that drive our work. Each step forward in "Nourishing Reciprocity" enriches our understanding and deepens our connection to the land, our communities, and each other.”

Framed by our Shinnecock Hills neighborhood, our interdisciplinary public art project is experienced live and pictured, reflecting the interrelationships of living organisms to one another and their physical environment on Mother Earth.

Such as Gallus Gallus (Chickens) and Homo Sapiens (Humans), Illustrated by our flocks of domesticated Padovana chickens, whose eggs nourish us while our living art installations provide them with shelter and habitat, insects and plants. Wild chickens lived freely alongside Shinnecock Ancestors until colonialists (1640) instituted farming practices: fencing transformed land and wildlife to ownership. Including chickens: a global presence of 26 billion (2024) who are symbolic of the transformation of the biosphere, a marker of the proposed Anthropocene.

Challenging the human-centric view of nature that reflect the interrelationships of fauna, including humans, to flora and other organisms amidst collapsing marine and terrestrial ecosystems. The strategy of re-wilding is in play, representing a sustainable collaboration with the more-than-human realm.

Hope Sandrow September 30 3:53pm Shinnecock with Susanna The Sky is Falling open air studio 2009  20” x 16”  Albumen print commissioned by Agnes Gund

 In this fractious era, we’re engaged in the creative process, studying critical matters through the lens of history-making and remaking itself. Considering the present and future with the embodied knowledge of recent history on ancestral lands. A microenvironment reflective of essential aspects of macro environments within Shinnecock Hills:  the Shinnecock Indian Contact Period Village Fort Critical Environmental Area Cultural Resources Protection Overlay District  (Hope’s open air studio spacetime) and Territory/Reservation (Denise, Jeremy, Briana, Kelly Ma’s House). Laboratories for experimentation during a critical planetary change in climate, society, and culture: Drift of Earth's Pole Confirms Groundwater Depletion as a Significant Contributor to Global Sea Level Rise 1993–2010 (June 2023).  Issues of identity, gender, science, re-wilding, and the politics of power and myth are also at play, representing a sustainable collaboration with the more-than-human realm. Nourishing nature and our natural world through our creative practices as artists-in-residence: “repair of the world.”

Read more: Shinnecock Hills now and then

The History of Chickens  June 10 2022  NY Times article James Gorman.

ABOUT:

Ma’s House  & BIPOC Art Studio

open air studio Shinnecock Hills spacetime

Brianna L. Hernandez Baurichter Anticipatory|Después  Esencial  Video 2 minutes

Kelly Dennis, Untitled work in progress at The Cottage, 2022, Acrylic on Canvas, 60” x 52”


 Project Update February 22, 2024: We're ecstatic to share the news of our latest collaboration with multidisciplinary artists Hope Sandrow and Ulf Skogsbergh as we unveil the "Nourishing Reciprocity" partnership, which expands our residency program capacity in Shinnecock Hills, a portion of Shinnecock Nation ancestral territory. This groundbreaking program is located at "The Cottage,"  which Hope and Ulf stewarded and historically preserved. It was once the 1891 - 1914 carriage gate house of American impressionist painter William Merritt Chase. This newly established residency offers a quiet retreat to a sanctuary for creativity and reflection while offering close access to Ma's House and the surrounding area.

Project Update May 10, 2023

Kelly: “In residency at Hope’s open air studio Shinnecock Hills, I’m creating art in a former carriage house that was plein air painter William Merritt Chase’s (1891-1914) when he lived, painted, taught nearby. Our great Aunt his subject in the oil painting ““Shinnecock Indian Girl” (1897). To inform my art making as well as our collaboration:  I’m researching historical records in consideration of territorial land-use and pre-colonial significance of chickens and birds in Shinnecock and local Indigenous culture and agriculture. Including our customary gift sharing for survival with plants and animals. Of interest is identifying the residual effects of fertilizers, pesticides such as temik chemicals used by potato farmers on leased Shinnecock Territory (1970s) for consideration of remediation plans. As we pursue tribal food sovereignty projects from local food resources, including for chickens such as kelp and seaweed (also for insulation as at the turn of 20th century) with Shinnecock Kelp Farmers.”

Jeremy, Brianna and Kelly: Our efforts for keeping chickens on an Indian reservation within Shinnecock Tribal Territory and sharing eggs with tribe members will help support food sovereignty efforts; reduce food waste; provide organic fertilizer. Lowering the carbon footprint by reducing transportation, minimize pesticide use and support local food production. Promoting sustainable agricultural practices benefiting our environment by raising chickens for eggs, residents can produce their own food locally and reduce the environmental impact associated with industrial agriculture. Overall, providing a sustainable source of food and reducing waste.

Jeremy and Brianna: “Excited to have chickens at Ma’s House, who are consuming ticks that overrun our environment. Traditionally we did controlled burns to manage overgrowth but the large density of modern-day houses, along with our natural environment being a sanctuary to wildlife, has also brought ticks that can cause lyme disease which many tribe members suffer. The sixteen chicks we hatched from Hope’s Padovana’s Hen’s eggs (October 2022) live in the initial stages of a sustainable outdoor art installation we created onsite Ma's House. Which will develop, be in process as we learn, creating a safe environment for the chickens to thrive amidst weather-related events, facts-on-the-ground. We’re sharing with tribal members and community members our new found knowledge along with Hope’s advice and experience of open air studio Shinnecock Hills, a living record of climate change and restoration, during public engagements, workshops and an exhibit.

Hope: “(re)consideration of our relationships to nature and the natural world unfold on these ancestral lands. Our collaboration brings a new communal resource of chickens and eggs to the Shinnecock Tribal members at Ma’s House. In addition to my flock of seventy chickens, our first efforts toward re-wilding on the Shinnecock Reservation/Territory with mine ongoing in open air studio Shinnecock Hills - are under study as seasons unfold. The NYTimes article “Snarl, Your on Candid Camera” suggests that wild animals of different species were more likely to lead overlapping lives in human-altered landscapes … that interspecies squeeze could have effects such as making it harder for prey (ie our chickens) to evade predators, intensifying competition for resources or increasing the risk of interspecies disease transmission. My founding of and chairing the Town of Southampton Arts and Culture Committee in which Jeremy is a member, highlights the important role of artists in our community.

Jeremy Dennis, Dream of a New World  20” x 40” Metal Print 2019

Denise Silva-Dennis Land Back Butter Wee Tah Moe, 2021, Acrylic on canvas 16” x 20” collection Hope Sandrow/Ulf Skogsbergh

Jeremy Dennis, Untitled, “Sacredness of Hills”  2020 Metal Print size variable 

Jeremy Dennis, We Are Still Here, 2016, Metal Print 40” x 60”

Hope Sandrow with Brianna L. Hernandez Baurichter I Won’t Carry Your Water, Women’s Circle’s Funerary Floral Easel, Succulents, Orb Planters, Funghi, Sphagnum Moss, Soil, Sand, Plexiglass, Dried Flowers, Mixed Media  2023 size variable LongHouse Reserve Planters: ON+OFF the Ground XI  

Denise “Weetahmoe“ Silva-Dennis WUNNE OHKE–THE RETURN TO GOOD GROUND, 2022, Drawing on canvas, Parrish Road Show

Kelly and Denise Silva-Dennis  I asked my Mom why? Drawing on paper 11” x 14” page 3 1997

Denise, Brianna, Jeremy, and Kelly:

Our art-making, including restoring habitat for chickens is first in our process of re-wilding, on our Indian reservation within Shinnecock Tribal Territory. In support of food sovereignty efforts, sharing eggs and information about soil and water testing using organic fertilizers with Shinnecock Kelp Farmers, ensuring health and safety for all including marine and wildlife. Lowering the carbon footprint by reducing transportation, minimizing pesticide use, and supporting local food production and a community garden. Promoting sustainable agricultural practices benefiting our environment: raising chickens for eggs and growing vegetables, residents can produce their own food locally and reduce the environmental impact associated with industrial agriculture. Overall, providing a sustainable source of food and reducing waste.

Hope:  Sharing advocacy for the preservation of wildlife on ancestral lands and local food production, including Hen’s eggs, nourishes interconnections with neighboring Shinnecock Nation. Our relationships to nature and the natural world unfold within our living art installations that inform our community. The NYTimes article “Snarl, Your on Candid Camera” (January 6 2023) suggests “that wild animals of different species were more likely to lead overlapping lives in human-altered landscapes … that interspecies squeeze could have effects such as making it harder for prey to evade predators, intensifying competition for resources or increasing the risk of interspecies disease transmission”.

About the artists:

Jeremy Dennis (b. 1990) is a contemporary fine art photographer and founder of Ma’s House. A member of The Shinnecock Indian Nation, a federally recognized tribe in Southampton, Long Island, whose work explores, indigenous identity, assimilation, and tradition from the lens of a millennial.

Brianna Hernandez Baurichter (b. 1991) is a Chicana artist, curator, educator, and death doula guided by socially engaged practices. Her background includes working in community organizations, galleries, museums, higher education settings, and as a consultant with public health researchers.

Kelly Dennis (b. 1984) is a Shinnecock visual artist, attorney, Shinnecock Council of Trustees elected tribal leader, and Primary Member of the First-Ever Department of the Interior Secretary’s Tribal Advisory Committee. Her visual art practice confronts histories of colonization, misconceptions, stereotypes, racism, historical trauma, and challenges she faces personally as an Indigenous woman.

Denise Silva Dennis (b. 1960) is a multi-disciplinary artist, educator, enrolled Shinnecock Nation Tribal member and Ma’s House - named for her mother - Workshop Coordinator. Sharing significant expertise in Shinnecock culture, history, matrilineal society, stories & legends in acrylic figurative paintings and murals.  And as an accomplished beadwork craftswoman in the traditional Eastern Woodland style handed down to her from her “Ma” Loretta Silva and elder women of the Shinnecock and Hassanamisco-Nipmuc Nations. Dennis sits on the boards of the Niamuck Land Trust, Shinnecock Kelp Farmers, Graves Protection Warrior Society,  and the Peconic Land Trust. (2022) For the "Parrish Road Show," the Parrish Art Museum's offsite exhibition series, Silva-Dennis created a site-specific outdoor mural at the Sisters of St. Joseph Villa in Hampton Bays, depicting the history of Shinnecock Bay. Titled "Wunne Ohke -- The Return to Good Ground," the mural continues Ms. Silva-Dennis's lifelong practice of intergenerational education and storytelling through the arts.“Good Ground,” is the original placename of the Hampton Bays area given by the Shinnecock who first inhabited the region.

Hope Sandrow's (b. 1951) art practice is her ‘way’ of life. In the mediums of still, video, mixed media, installation, sculpture, new media, performance, and social practice. Exhibited in her artist-in-residence interdisciplinary project, open air studio Shinnecock Hills spacetime, sited on ancestral lands.

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