A New Public Art Installation in Alexandria Confronts the Citys Ties to the Slave Trade – Architectural Digest

Alexandria, Virginia, a port city on the Potomac River, just below Washington, D.C., is often celebrated for its rich industrial history. As early as the 18th century, its lively waterfront became a bustling hub of tobacco trade, hemp and flour exports, and, as time passed, manufacturing. Often overlookedor, perhaps, just told in a separate chapter of the history bookis the fact that Alexandria was also an epicenter of domestic slave trade, with one of the largest slave markets in the U.S.

So when Brooklyn-based artist and architect Olalekan Jeyifous was tapped by the City of Alexandria to create a public installation in Waterfront Park (1 Prince Street), he decided to confront the issue head-on.

Stories that are uncomfortable are often sidelined, explains Jeyifous, who learned about the citys role in the slave trade while researching Alexandrias industries and meeting with local community groups. I wanted to make something that combined these histories into one narrative.

Jeyifous stands beside his work, Wrought, Knit, Labors, Legacies.

The resulting installation, titled Wrought, Knit, Labors, Legacies, opened on March 21. At the site, overlooking the Potomac River, four ornate, powder-coated metal profiles with benchlike seating emerge from a colorful ground that resembles the traditional quilts commonly made by African Americans. Icons of Alexandrias industrial history are cut from the profilesrailways, armory, flour, tobaccoand more are incorporated into the floor: fish, bricks and trowels, church windows.

Each figure embodies iconography that pertains to four of the major commercial industrial enterprises that Alexandria is known for, Jeyifous explains.

The figures are strong, noble, and black. Most of the time you see a monument for a historic figure, its for a general that did this or that, Jeyifous says. It lionizes an individualusually male, usually whiteit doesnt acknowledge all individuals.

Another view of the public installation, which has been temporarily fenced off due to the COVID-19 pandemic, but is still highly visible.

When Wrought, Knit, Labors, Legacies opened to the public at the end of March, the coronavirus pandemic raged, and stay-at-home decrees were already firmly in place. History was writing a different sort of story for a public art installation. Right now, a low fence keeps visitors from getting up close with the installation, but walking in the park and surrounding trails is still permitted.

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On the day I spoke with Jeyifous, he was sheltering in place back at his home in Brooklyn, while keeping an eye on the project from a 24-hour camera that streams the park. I like to see whos out there, he said. At the moment he could observe three or four people, safely distanced. Im excited to see what resonates with people. At a time when a short walk outside has become a luxury we ration and savor, he certainly has a captive audience.

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A New Public Art Installation in Alexandria Confronts the Citys Ties to the Slave Trade - Architectural Digest