by Peggy Rambach
Address for the HOC Mural Project Unveiling Celebration with MIT at the Suffolk County House of Correction
Feb. 15, 2019
Lately, we’ve all been hearing a lot about walls – whether we like it or not.
And as a result, we can’t help thinking about what a wall represents: division, protection, confinement – all of which are a necessary part of a facility like this.
But a wall can also be a canvas that inspires imagination and creativity.
And big walls, like this one, communicate a message with a particular kind of power.
The message of the women in the Women’s Program here, who designed this work of art in just four, one and a half hour classes, was conveyed in this way:
One might interpret the eyes as the eyes of the soul, and our sorrows illustrated by tears. And so often – if we’re patient enough – we find our sadness leads to new growth represented in the form of the tree. Jellyfish are unconfined by walls and water. Walls become the universe, a ceiling the sky, and flowers break through anything that might stop them from blooming. All of this saying, that no matter what, we have to capacity to break through what may confine us. And that’s why everyone wanted a doorway that leads to the light of possibility and hope.
And so, art transformed a blank wall into the image, I would say, of human resilience, showed how we can dissolve, scale and transform any wall that may threaten to permanently confine us. Walls like: disappointment, failure, addiction, poverty, fear, heartbreak, prejudice, and any number of traumas we encounter as we live our lives.
If we are human, it’s pretty hard to avoid one or all of these things — no matter our life circumstances.
That is why a large part of the HOC Mural Project’s vision was to form an unlikely union between two groups of people in two very different life circumstances.
One group would be considered to be privileged, celebrated for their skills and the social and technological contributions they will make to our country and even the world. The other, once back in society, will have a great deal to face and overcome, including stigma and a sense of alienation, in order to establish a life that is secure and settled, productive, and healthy.
And yet, put these two groups together in this room to learn together how to make what you see before you, and what lies between them is no division, only respect, camaraderie, and friendship.
My role in this project was small. I thought of having the women here paint a mural long ago, and I made the first overture to MIT. Other than that, I pretty much just stood around; and while standing around, I couldn’t help but observe. And this is what I saw:
I saw an immediate bond develop between Mijin and Sokhee, created not only by a common purpose but by a common language.
I saw and heard everyone express admiration and respect for Johanna’s portrait of mother and child, and I saw Johanna glow with new-found confidence in herself as an artist.
I saw admiration and respect for Yahaira’s leadership, and the patience and perseverance that she and Jennifer brought to the two full weeks they worked together to perfectly execute the leaves on the tree.
I saw the moment that Allison, urged on by everyone’s encouragement, broke through her hesitation to put paint to canvas. I saw Lesley and Farrah, Norma and Graciane let go of self-doubt to engage whole-heartedly in every aspect of the experience. Along with the creative work, they often took on the less romantic yet equally important task of prep work and clean up.
I saw the group’s dependence on Taylor and Johanna’s ability to make the sky, and dependence on how all the MIT students effortlessly measured and strung the grids that showed everyone where to place each image.
I watched how everyone arrived each day to immediately plunge in and work without a break (unless there was pizza and doughnuts) until it was time to go.
And I saw everyone, without exception, contribute his or her individual strengths to a single purpose and goal — in no way motivated by ego or the need for individual recognition.
And I have to mention Yinka. Yinka’s candle, the image she suggested be in the design and the image that perfectly depicted Yinka’s spirit, one that brought her to come and work cheerfully on this mural just a few hours before she knew she would be deported to Nigeria and separated, perhaps permanently, from her husband and two young sons. Yinka’s optimism and courage and faith was an example to us all, and I believe we will always think of that candle as the symbol of the light Yinka brought to our lives.
So again, there was no wall at all between the individuals who made this work of art. And because they experienced that unity in a tactile and visceral way, they will disperse what they learned here throughout their lives, and I hope influence those who might see only division where there is unity and only difference where there is always commonality.
This may just have been this project’s greatest achievement of all.
I am proud to have been part of this institution, the Suffolk County House of Correction, and to have witnessed two very different institutions cooperate and collaborate to make all of this happen, spurred by a common belief in the value of art to heal, unify, and inspire.
Funding for this project was provided by the Massachusetts Institute of Technology Office of the Vice Chancellor and The Council for the Arts at MIT.
About the guest contributor:
Peggy Rambach M.A., M.F.A., is the author of several books and is recognized primarily as a writer, though she has become intensely devoted to pastel. She has studied with local pastel artists and is otherwise, self-taught. She has taught as a non-benefit employee at Suffolk County House of Correction since 2008.
Along with her work in Corrections, Ms. Rambach has taught in healthcare, in social service centers, and in the Medical Humanities. She has received grants and fellowships from the Schwartz Center, the Massachusetts Cultural Council, The Massachusetts Literacy Foundation, and the Yaddo and MacDowell artist colonies. Ms. Rambach is also a featured artist in the documentary film: The Healing Arts, New Pathways to Health.