Greenway Walk with Joan and Davida (10:30)
Tuesday, September 22 at 10:30 a.m.
Join BHV members Joan Doucette and Davida Carvin for this walk along the Rose Kennedy Greenway. The walk departs from the main train station entrance at South Station (corner of Summer Street and Atlantic Avenue) and proceeds along the Greenway, viewing two public art installations: one by Mexican-American master folk artist Catalina Delgado-Trunk and one by renowned British-Nigerian artist Yinka Shonibare. Walkers may choose to ride the Greenway Carousel. The walk will conclude at the Aquarium, where walkers may choose to take the Blue Line T home.
Participants must wear a mask while on the walk.
Meet at the main train station entrance at South Station at 10:30 a.m, where the walk begins. BHV members and their guests. Free. Weather-permitting.
Here is a bit more about the art installations walkers will view along the Greenway:
Delgado-Trunk’s work Global Connections: Mesoamerican Myths, the Domestication of Nourishment, and its Distribution, displayed on The Greenway’s “Light Blades,” illustrates Mesoamerican mythology, histories of food trade, and the foundational elements of all our lives.
Delgado-Trunk’s intricate papel picado (cut paper) has been photographed, enlarged to a monumental scale, printed onto vinyl, and affixed to eight of the 30’–tall columns illuminated by color-changing lights, situated near the Rings Fountain at Milk Street. Her artwork focuses on our interconnectedness through themes of food, culture, and immigration.
The second new public artwork is British Nigerian artist Yinka Shonibare’s Wind Sculpture (SG) V, which will be exhibited later this month in a contemplative garden on The Greenway, just north of Dewey Square.
The 22’–tall sculpture features a new variation of Shonibare’s trademark batik that appears to harness the wind and freeze it in a moment of time. Batik, which we now regard as traditional African cloth, is based on Indonesian batik fabric first brought to Africa by Dutch traders in the 1800s.
Throughout Shonibare’s work, the material serves as a metaphor for our contemporary cultures which, like the “African” batik, are the result of centuries of cross-cultural exchange. By referencing both this hybrid fabric and the powerful yet invisible nature of wind, the work suggests that identity is always a richly layered and dynamic set of relationships, while evoking a sense of freedom, possibility, and optimism.