“Sankofa” derives from the Akan African folklore, symbolizing remembrance of things forgotten, and “in order to know our future we must look to our past.”

The installation is simultaneously futuristic and ancestral, and draws upon intersectional cultures including African, Afro-Caribbean and Indigenous craft traditions as well as the everyday histories and contemporary life of the Park.

The design concept for the pavilion comes out of working in community with members of the Marcus Garvey Park. The 32-foot circular structure incorporates a gathering space below a printed fabric mesh canopy depicting both archival images and AI generated “mythology” of Marcus Garvey Park and other motifs.

“Sankofa” is the first of multiple interactive centerpiece “nodes” of the Culture, Creativity, and Care Initiative over summers 2023 and 2024.

The Culture, Creativity, and Care Initiative brings a host of programming and wellness-through-the-arts to Harlem’s Marcus Garvey Park community.

Design Team:

Jerome Haferd (lead), Violet Greenberg, Tiffany Gonzalez, Gabriel Moyer-Perez, with support from Dominiq Oti, Pedro Cruz Cruz and Shadeen Dixon, Ayana Ayo, Charles Maher, and Noah Plofker

Consultants and Collaborators:

Steel Fabrication : Ziello Custom Framing and Fine Art

Printed Canopy and Art Panel Collaboration: NVS Visuals

Wood fabrication, design, and detailing : Tyreik Jackson

Sitework : Franpen Restoration

Sandy Clafford is a New York-based interdisciplinary visual artist of Afro-Latin descent, who works under the pseudonym “The Queen’s Artillery”.

Clafford was born and raised in Brooklyn in the early 80's, which has given her a deep sense of attachment to her borough and the culture it fostered. Her upbringing in Brooklyn serves as a driving force in her artistic inspiration, and speaks to the celebration and self-expression that is so important to the Black community.

Her series, What That Mouth Do, expresses the multiplicity of women while confronting the common sexual innuendo. While The Predecessors – Deck of Queens, is the prelude to her new series, and an adaptation of the original playing card.

The Queen’s Court- Reclaiming My Time collection, focuses on memorializing and reimagining the classical era with representation of the Black figures of modern culture.

She paints a lot in her practices, and it has progressed with mixed media assemblage. Clafford incorporates vibrant textiles and textured background designs of sequins, glitter, microbeads, and diamond dust. The structures and limitations imposed on her femininity and Blackness serve as a driving force in artistic motivation.

Her experiences and perspectives as a Black woman inform and shape in the creative process, allowing her to explore and comment on the complexities of these identities through art. Her work explores the intersection of contemporary Black luxury culture, motherhood, the female form, and ancestral heritage, employing a multitude of intricate details to bridge the gap between the past and the future. The work's narrative de-stigmatizes the cultural relics of Black traditions and discovers self-advocacy through elements of activism, community, and luxury culture.

From the artist: “As an artist of Afro-Latin heritage, I aimed to honor the significance of Juneteenth by acknowledging the vital role of Harlem's demographics.

Through the representation of esteemed figures like Tito Puente and Lena Horne, who were born and raised in this community, I sought to encompass the experiences of marginalized groups.

Drawing inspiration from Marcus Garvey's quote, "A people without the knowledge of their past history, origin, and culture is like a tree without roots," I recognized the significance of emphasizing the roots of this community, by incorporating the individuals who have made significant contributions to its history.”

Artist. Working class. Mother. Legend.

“My piece is inspired by the 1969 Harlem Cultural Festival held in Marcus Garvey Park. The guitar is a symbol of Black rock defiance, and my guitar is a gift from the ancestors. Black people are the roots of rock music, and that love, joy, affirmation and defiance are in our DNA. Dio dreams of rock and roll liberation, and so do I.”

Currently an Illustration major at FIT NYC but I was born and raised on Long Island. At 16, I began to merge my consciousness with my artwork. Through social commentary, I centered my art around the Black experience and how we navigate through our pain. My passion for spoken word poetry aided the process of conceptualizing our issues.

There's a strong parallel between using metaphors in poetry and symbolism in art. I specialize in chalk pastel portraiture and find a deep importance in bringing the spirits of my subjects to life.

In the past, a lot of my work was driven by Black trauma and my anger. But as I evolved as an artist, I like to not just raise awareness but also provide resolution.

My current aspirations are to create spiritual artwork that will help people not just glorify God but to relate to him as well.

The Black community needs healing and I believe that's where my career is heading right now. Through all our tribulations, there is an end to our suffering spiritually, physically, and generationally.

“This piece was inspired by this Marcus Garvey quote “Look for me in the whirlwind or the storm, look for me all around you, for, with God's grace, I shall come and bring with me countless millions of black slaves who have died in America and the West Indies and the millions in Africa to aid you in the fight for Liberty, Freedom and Life."

I want to show the souls and spirits from the diaspora who are traveling back to help us in the fight for Black Liberation. I thought this was a good way to incorporate Marcus Garvey’s words with a scene of people playing chess in the park itself.”

Not from there
Born and raised
In the streets of Mexico City
Being exposed to street art
At a young age
Coming from a low-income household
Made him aware of social issues
That helped shape his views
And evoke his passion for art
From Ricardo Flores Magon
To Zach the la Rocha
Using love as a weapon
To vindicate the unheard
Whether it is a dollar bill
A pair of sneakers
Or a corner of a bodega in Harlem
Bringing peculiar ways
Of sharing public opinions
Sometimes sarcastic
And cynical in some others
VOICE OF THE VOICELESS
He will say
That’s our superpower

“This is a reflection of Marcus Garvey and his clear vision of progress for the future. There are three paper boats. The one in the back is Frederick Douglass because that’s who Marcus Garvey named the cruise line after, the one in the middle is Fredrick Douglass himself, and the one in the front is Harriet Tubman. I’m also referencing a famous sculpture by the artist Wesley Wofford and in the middle one is Wesley surfing.”

Giannina Gutierrez is a multimedia artist whose style reflects her wild spirit and zest for life.

Inspired by nature, spirituality and the human experience, Gia’s eclectic flair encompasses nature themes, bold colors, textures, and exaggerated shapes and lines.

Gia was born in Colombia, and raised in Jamaica Queens, New York, where she developed her urban core appreciation for city streets, nightlife, graffiti, hip-hop culture, and music.

Attuned with her roots, and reflected in her plantlike forms, colors and ocean life images, Gia’s work is instinctively inspired by her Colombian heritage.

A true mixed media artist, her body of work is composed of paintings, drawings, and mixed media assemblages/sculptures. From fine art to street art, Gia’s experience includes public art/murals, exhibiting, curating, and teaching/leading painting projects.

Giannina studied at the Student Arts League of New York and majored in Fine Arts at Pratt Institute. Her work has been featured in several galleries, public art projects, publications throughout NYC, LA, Miami, Chicago, & Puerto Rico.

She is passionate about empowering and supporting communities through art.

She currently is based in East Harlem, where she supports the community through arts activities and her mural work. As a mixed media artist, she is continuously learning, expanding her skill set, and finding inspiration.

Gianninagutierrez.com | giasyellow@gmail.com | IG: @artbygia

‘ “God and Nature made us first, and then out of our own creative genius we make ourselves what we want to be. Follow always that great law. Let the sky and God be our limit and Eternity our measurement”.

Cicely Tyson has long been an inspiration, a trailblazer, and a Harlem gem. She grew up in East Harlem, so I chose her growing from a tree and flowering against the bright blue sky.”

Fable Jones is a Harlem based visual artist and curator.

Fable graduated with a BFA in Illustration from the Fashion Institute of Technology, and has furthered his studies in anatomy, traditional and digital painting, book illustration, and silkscreen at the School of Visual Arts, New York Academy of Art, and the Art Students League.

Fable works primarily in watercolor with a focus on representation and diversity, bringing people of color to the forefront, commanding our attention, expanding our conversations and creating normalcy around our presence and contributions to society.

In 2020, with help from his brother and partner, Fable opened Fable Jones Studios in Brooklyn to provide a platform, creative safe-heaven, and community for local NYC visual artists and performers. Though the physical space has closed, Fable continues his work through collaborations with local galleries, non-profit organizations, and public projects.

‘“God and Nature first made us what we are, and then out of our own created genius we make ourselves what we want to be. Follow always that great law. Let the sky and God be our limit and Eternity our measurement. ” -Marcus Garvey

“Never forget that intelligence rules the world and ignorance carries the burden. Therefore, remove yourself as far as possible from ignorance and seek as far as possible to be intelligent.” -Marcus Garvey

Inspired by these two quotes, my work depicts a larger than life black reading amongst the clouds and stars. The simple act of reading allows us to transcend the boundaries of our reality, educate ourselves so that we do not become victims of our ignorance and forge our own path with confidence.”

Ayla Kaarin is a multi disciplinary artist from Melbourne, Australia.

She immerses herself in captivating the realms of figurative art, cityscapes and portraiture inviting viewers into a world where stories unfold.

Using an extensive repertoire of mediums such as oil/soft pastel, ink, charcoal and paint to masterfully bring subjects to life, infusing vibrance, narratives, emotions and a distinct visual language as a focal point and catalyst for conversation.

Her current body of work is representational that we can exist in more than one place at a time, as it is not only our physical form that is in existence. Delving into the intricacies of human expression, the essence of movement and human connection is a core aspect of her practice.

‘“I trust that you will so live today as to realize that you are masters of your own destiny, masters of your fate; if there is anything you want in this world, it is for you to strike out with confidence and faith in self and reach for it.”

Inspired by the local community and families I focus on depicting interactions through movement, expression and body language. As to capture conversations between friends, advice, life lessons or wisdom being shared between loved ones. The piece will incorporate a transitional element of time using a mix of monochrome and color. The artwork will be a mixed media piece using oil pastel, ink and charcoal.”

Kristy McCarthy is a professional muralist, teaching artist, and community organizer based in East Harlem.

Painting under the moniker “D.Gale”, she utilizes art as a powerful tool to build community, raise awareness about social and environmental justice issues, and heal collective trauma.

She is a founding member of HART: The Harlem Art Collective and has spearheaded multiple community art installations in East Harlem, including their flagship project, the Guerrilla Gallery.

As a trauma informed teaching artist, Kristy has partnered with Groundswell, Thrive Collective, Creative Art Works, and the New York Department of Health to create collaborative art with youth groups, seniors, and adults living with disabilities.

In 2022, she was lead muralist for the NYC Mural Arts Project, working to reduce the stigma surrounding mental health conditions through community engaged art making.

Internationally, Kristy has participated in community building art festivals across Latin America, including Indómita Festival de Arte Urbano in Ecuador, Amazonarte in Peru, and Akumal Arts Festival in Mexico.

In 2023, she served as official Artist Envoy for the US Department of State and led the Environmental Mural project in La Paz, Bolivia.

Her work has been featured in Vogue Magazine, Harper’s Bazaar, Hypoallergenic, and Interior Design Magazine. She is a recipient of the 2019 New York City Council Proclamation and City Council Citation.

“This sketch is inspired by the following Marcus Garvey quote: “A people without knowledge of their past history, origin, and culture is like a tree without roots.”

Drummers circle is not only an important part of Marcus Garvey Park’s legacy but is also a living representation of Marcus Garvey’s vision for black people in America to remain physically, spiritually and culturally connected to their African roots.

This collaborative circular art installation in itself is a drummers circle of sorts, with each artist contributing their own unique voice and style, joining together to create a visual cypher of colors, symbols and visual poetry.”

Watson Mere has been an exhibiting artist for the past seven years.

Mere’s work has been exhibited in galleries, museums and venues, which include the Barclays Center, Brooklyn, NY; Venice Art Gallery, Venice, Italy; Weeksville Heritage Center, Brooklyn, NY; The Billie Holiday Theatre, Brooklyn, NY; Norman Rea Gallery, York, United Kingdom, and The Africa Center, Harlem, New York.

He has earned various awards including being a recipient of the 2022 Elizabeth Foundation For The Arts Studio Program, a 2021 New Futures recipient from The Other Art Fair, the 2018 Citation of Honor (Arts) from the District Attorney of Kings County, and the 2018 Jean-Michel Basquiat Award from Creole Image Honors.

In 2018, C-Suite Quarterly chose Mere as a NextGen 10 in Philanthropy, Art, & Culture.

Mere and his work has been featured in publications and television networks such as The New York Times, The Washington Post, Esquire Magazine, Artsy, NPR, News 12 New York, Philly Magazine, Broadway World, AfroPunk, BronxNet TV, Colossal, GlobeNewswire, Nylon, C-Suite Quarterly, and more.

Mere attended Florida A&M University, receiving a B.A. in Business Administration in 2011 and a Masters in Business Administration in 2015.

He was born and raised in the town of Belle Glade, FL to two immigrant parents from Haiti.

He lives in Brooklyn, New York and maintains a studio at The Elizabeth Foundation for the Arts in Times Square, Manhattan.

“The piece is inspired by Garvey's unwavering message of unifying all African nations across the globe under the UNIA flag, commonly referred to as the Black Liberation flag, created in 1920.

In the piece, Garvey is holding the UNIA flag and the flag of his native country Jamaica. He stands before a large quilt blanket that has the flags of black nations and nations with a large black population. The quilt lays before the aerial view of a grass field, symbolizing the different perspectives of blackness within each of these nations. An abstract crown with the Black Star Line symbol at the center hovers over Garvey's head as native flowers from some of these nations blossom from the abstract figure. The flowers piercing from the complicated crown represent the beauty that is black pride, which was nurtured by Garvey movement and persevered despite centuries of oppression. The abstract nature of the crown represents the struggles that Garvey faced as a black leader in his time.

Although this title came with many hardships, his leadership and vision inspired the future of the African diaspora and manifested many movements in the future that led to the independence of many black nations years after his historic life.”

Michael Mitchell studied illustration at the Art Institute of Chicago. He has also studied architecture at The University of Chicago's AIA Design Center, and watercolor technique, advertising and design at The American Academy of Art.

He was a founding partner at Howell/Mitchell Design, before he moved to New York in pursuit of other opportunities over 30 years ago.

Michael is an accredited Teaching Artist with Creative Art Works (CAW) in Manhattan, for whom he teaches emerging artists in schools around New York City. Michael has guided CAW's Youth Apprentices in the design and execution of public art commissions that can be seen at Shake Shack on 125th Street in Harlem, Citigroup Center in Midtown, Queensbridge Baby Park in Long Island City, the PS/IS137 gymnasium in Brooklyn, and the Bronx County Family Court lobby.

As a muralist, he has created large-scale works for private clients in New York, Chicago, Boston, Pittsburgh and Honolulu.

As a freelance commercial artist with decades of successful service, Michael's work is well known amongst New York and Chicago advertising agencies.

In addition to private collections, Michael's works can be found in the permanent collections of museums. In 2017, the Leslie-Lohman Museum of Art hosted a career retrospective of Michael's fine art and original magazine illustration in a one man show at their Soho Gallery that included works on loan from their permanent collection.

Michael is a contributor to VisualAIDS' "Postcards from the Edge" project, that supports the community of artists affected by HIV.

Michael resides in East Harlem, New York City, and is a member of the Harlem Arts Collective (HART) whose mission is to use art and creative expression as a tool to engage, educate, unite, inspire, and empower the community of East Harlem.

Michael likes to draw and design cars.

“Frederick Douglas is my inspiration. In part because he is so recognizable, and because he was one of our first heroes for human rights. He escaped, and helped others do the same. He wrote brilliantly at a time when we weren’t allowed to read and write. And he personally made it clear to Lincoln that victory MUST include emancipation.

The message here is that we, as twenty first century activists, build our movement on the shoulders of the courageous heroes who preceded us. We walk the path that they cleared. As we, in turn, clear a path for our children, teaching them what we’ve learned. We see our world now through the eyes of Frederick Douglas.I've included hints of intersectionality throughout. For example, a nod to the current attempts to control women's bodies. In the sketch, I also show her holding a leash, walking her dog. A very “day in the park” thing to be doing. But it will also invite the viewer to see the rope (or chain) through the lens of human bondage. The motif could continue from frame to frame, perhaps ending with a puppy, or perhaps a stake in the ground.

I think the first reaction most viewers will display is a smile. Even a laugh. It's funny, these men and women of all colors, with a bearded black man’s face. And thus, this witty conceit makes it easier to calmly examine the issues addressed, even with a perceived adversary, on a sunny afternoon in Marcus Garvey Park.”

Nyala Blue (Janaya Nyala) is a queer Afro-Hispanic emerging fine artist specializing in surrealist portraiture.

Her body of work, spanning the last couple years, aims to highlight Black beauty and mental health in a saturated, larger than life way.

Her goal as an artist is to create a bright world within her paintings where beautiful Black faces are the sole focus so that our people can see themselves in her work.

Nyala finds her inspiration through photography, poetry, music, film, and her own experiences.

‘“God and nature made us what we are…”

“look for me in the whirlwind…look for me all around you”

“a people without knowledge of their past history, origin, and culture is like a tree without roots”

This piece is inspired by excerpts from Marcus Garvey quotes mentioned above, and shines light on the lush plants and flora native to NYC that often get overlooked. Flora pictured include Christmas Fern, New York Aster, and Dense Blazing Star. The butterflies pictured, resembling the Pearl Crescent species, are also native to New York. Butterflies represent the presence of ancestors across various cultures, including the Mayan & Native American people, and is the message of this piece, representing Garvey and the ancestors of the people and how they watch over and quietly guide us. The figure looking right also ties into the idea of moving forward, looking onward into the future.”

O'Sheena Smith was born in Harlem along with both of her parents.

She attended Manhattan Center for Science and Mathematics, graduated, and went on to study architecture at Hampton University in Virginia. She also studied business at Atlantic Cape College in Mays Landing, New Jersey.

Since then she has received certifications in AutoCAD, Tax Preparation, and Economic Development through the EHBCC.

Currently, she's employed helping families and elderly New Yorkers in need.

Eight years ago O'Sheena co-founded The Harlem Art Collective ( HART ) with Kristy McKarthy and a handful of other artists. They began painting interactive murals in East Harlem on 116th Street between 2nd and 3rd Avenues. The sidewalk was lit up with what was once called the "Guerilla Gallery ". The Guerilla Gallery mainly featured the work of HART artists but many other local and international talents have joined in. They repainted the wall every three months, weather permitting, until the structure was taken down permanently, in November of 2022. The work of the collective can be found on the HART Facebook page, www.facebook.com/theHarlemArtCollective/.

Most of her personal pieces are landscapes in acrylic. Acrylic is her favorite medium so far, and she enjoys painting nature and its elements more than anything else. She uses any medium she can to produce art and many of her pieces have some political aspect to them.

She enjoys giving still life a deeper meaning and has a newly found obsession with mermaids.

O'Sheena has spray-painted storefronts through the 100 Gates project and a piece in the Uptown Grand Central Installation on 125th Street. She established WaterLily27inc. in 2021 and many of her future projects will bear the WaterLily27 signature.

Along with painting she also designs swimwear and is a writer.

"Painting has merely been a hobby of mine for many years. Studying, being surrounded by, and working with so many gifted artists have inspired me to start my first professional collection."

IG: @waterlily27inc

“In his old world everything is black and white, while in the new world the younger generations are forced to digest topics such as gender identity, at ages where many feel is too young to comprehend. He struggles to see things in color while she struggles to see things in black and white. I chose this composition because chess in general has many references to social class and politics. The king and queen governing the disposable pawns or lower classes. I feel like this is a visual way to express the teachings of Marcus Garvey in terms of teaching the youth, using your mind and striving to stay ahead of the game. I also chose a girl child to combat sexism. I have learned many things from my elders that would have never been taught to me in any school.

“The Negro will have to build his own industry, art, sciences, literature, and culture before the world will stop to consider him.”

“You at this time can only be destroyed by yourselves, from within and not from without. You have reached the point where the victory is to be won from within and can only be lost from within”’