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Let’s get back to talking about New York City’s enormous sad potter’s field at Hart Island (hey, why are all of  my readers leaving?) Well anyway, when we left off, we had explained that the island is rich in poignant, important-to-remember narratives.  For example, the island’s history strongly contextualizes mistakes made early in the 1980s HIV crisis (not that we’ll ever have another viral pandemic hideously mismanaged by pro-big business apparatchiks in national government).  How can we draw attention to this history and properly memorialize the souls whose mortal remains are interred there?

As an artistic exercise, I thought about what sort of memorial would fit a small coastal island next to one of the world’s busiest ports.  Despite advocacy by the Hart Island Project, a nonprofit organization (which also helps family members locate graves and works to beautify the site) , it is still difficult to visit the island, so the monument needs to be visible from the water or the coast. However, New York is already a chaotic place! We don’t need any more giant light beacons or 100 meter tall green ladies (although if you know of a friend for Lady Liberty, maybe let me know in the comments).

There is a sort of building from the past which fits all of these criteria perfectly: a lighthouse! Most of New York’s original lighthouses have been retired or are now cultural sites/tourist spots instead of working maritime devices.  I am sure we could fit a memorial sculpture in (in fact my favorite New York memorial is exactly such a thing), but how would we make it obvious that it is a monument to victims of HIV?

As a preliminary attempt, I designed this lighthouse  in the shape of a virus.  I painted it a cheerful pink to make it pop-out from the muted coastline colors of Hart Island, and of course to call attention to the unhappy stigmatization of queer communities which made the ravages of AIDS so much worse than what should have been.


Model for Hart Island AIDS Cemetery Memorial (Wayne Ferrebee, 2019)

Let me back up slightly and explain this somewhat peculiar model. The base is largely irrelevant (it is meant to illustrate that the lighthouse/sculpture needs to be landscaped into an appropriate vantage point on the old AIDS cemetery on Hart Island).  There is, however, one important landscape feature which doesn’t read very well in this little diorama: I hoped that the pathway from the main path over to the memorial plaque at the base of the lighthouse/sculpture might be a site where mourners and interested entities could place mementos.  I thought if these were all the same color (a chromatic convergence easily accomplished with an inexpensive vat of enamel) it would make the overall presentation more powerful and emotional. I chose pink since it is a sacred color to the LGBTQ community (I also thought the light beacon might be pink as well), however there are other virtues to pink.  It is visually bold and highly visual, however it conveys renewal, joy, and beauty. It is an unusual memorial color for an unusual memorial. But it is just an idea (pink is also one of my favorite colors). Black, white, or rainbow would all work too and each of those options also have many strong supporting reasons.

A virologist might point out that this actually a bacteriophage (or actually an abstracted  symbolic likeness of one).  That is entirely correct.  I wanted this to be a symbolic likeness so as to not have people’s final resting place overshadowed by an overly realistic version of the disease which killed them.  in the past, such a memorial would probably have had robed allegorical deities and subdued personifications of Death and suchlike figures (in the manner of the extremely beautiful USS Maine monument at Columbus Circle), however in the modern world I don’t think we have many (or any) sculptors capable of such exquisite figurative work, plus such a sculpture would fail to feature the component of hard-won medical knowledge which needs to be central to this monument.

lighthouse 2

Speaking of which, why have a monument at all? I am sure there are readers thinking this is all “too much” or something we don’t need in a world of monetary woes and immediate problems.  I am more sympathetic with such a point of view than you might expect from someone designing abstruse neoteric memorials! However I think we really DO need pandemic memorials.  Consider the 1918 Spanish Flu pandemic. We swept it under the rug and moved on with jazz age excess as fast as possible.  In doing so we forgot about the critical lessons of the Spanish Flu (to say nothing of its victims and its stringent hardships), and that was obviously a terrible mistake.  There are, of course, even more victims of Spanish flu than there are AIDS victims right there at Hart Island.  Maybe we actually need a comprehensive viral pandemic monument to honor them and the AIDS victims, and the souls who have suffered and perished in the continuing coronavirus pandemic.  That final post of this three-part series will have to wait though (since I need to get back to my studio).

In the mean time, please take care of yourself. Be safe and be of stout heart.  Hart Island reminds us that these terrible times have happened before (how could we have forgotten??) but it also reminds us that the pain and loss and suffering have all been endured before and that we grieved and kept moving forward.  Perhaps that is the real secret to navigating treacherous passages which are memorialized in funeral monuments.

lighthouse 3

Oh, one more thing. Please leave your comments and opinions below.  The more points of view presented, the better that memorials are able to represent all sorts of different viewpoints!


Cellular Flounder goes Viral (Wayne Ferrebee, 2020) Wood and Polymer

Pursuant to the international coronavirus pandemic and the strange world of quarantine we find ourselves living in, here is an artwork I have just finished.  I made the cell/flounder sculpture last year to explore the nature of cells (which are underappreciated by everyone except for biologists…and biologists now basically only study cells, since they have recognized that they are all important).  I am always shocked at how much the diagrams of cells look like diagrams of big crazy cities.  I think there may be instructive reasons for that similarity, however it is unclear how to articulate these abstruse concepts except through the symbolic language of art.  I made the cell a flounder because that animal is my current avatar of Earth life, and since the flat oblong shape is ideal for art presentation (and because of the sad, anxious, comic eyes of course).

cell flounder

I finished the cell/flounder part of the sculpture last year, but it has never struck me as complete.  The present crisis sharpened my thinking and so I added a little army of viruses which were enormously fun to make and which are cuter than they have any right to be. Admittedly these are phages rather than coronaviruses, but I find icosahedrons and spider legs more visually interesting than spheres.  It is all part of the magic of art.  As always, kindly let me know what you think and stay safe out there!  Things look a bit bleak and odd, but I wonder if we are not doing better than we recognize!  We are all trying at any rate, and we will know more soon.  Also spring will be here tomorrow (and with it, a bunch of flower posts, so there is that to look forward to).


Original form (before the invasion)


The Rich Man (Hans Holbein the Younger, 1526) woodcut (detail)

Today’s post features three of our favorite topics: crowns, serpents, and China!  But, alas, as sometimes happens, these themes have combined in a terrible manner to make frightening headlines around the world.  The past two decades have seen the emergence of strange flu-like respiratory viruses from Asia.  The most infamous was SARS-CoV which emerged from China in 2003, but there was a sequel in the two thousand teens, MERS-CoV, which seems to have originated in Arabia by jumping species from camels.  Now the world’s communicable disease experts are once more on high alert as a new respiratory virus has been identified.  The new new virus is going by the name 2019-nCoV and it causes similar symptoms to  SARS: unlucky humans infected with the virus suffer severe inflammatory response which can lead to (sometimes fatal) respiratory complications.

The virus has been traced back to Hubei to the city of Wuhan, one of the most ancient cities of China.  Wuhan is also the largest city of central China with a population of 11 million people!  So this explains the China angle, but what about crowns and snakes? that sounds like Russian folktale territory!


A Diagram of a Coronavirus

It turns out that 2019-nCoV is a coronavirus, a category of virus which takes its name from the appearance of the virion as scanned by an electron microscope.  Tiny knobbed spicules emerge from the caplets of coronaviruses which make the round structures superficially resemble the royal headdress (particularly the classical knobbed crown of Medieval Europe).


Coronaviruses are highly zoonotic–meaning they can easily be transmitted from animals to humans.  Sars was first thought to originate from Asian palm civets (although it seems the poor civets may ultimately have been a vector).  At this juncture scientists are starting to trace 2019-nCoV back to many-banded kraits (Bungarus multicinctus) a black and white striped elapid snake of coastal and central China.  People are not making out with kraits (which is good, because the snakes are super venomous) but the poor kraits are apparently popular as exotic cuisine.  Edipemiologists have pinpointed the origination of  2019-nCoV as the Wuhan seafood wholesale market, which sells all sorts of animals slated for the table, including many-banded kraits.

Multibanded Krait Bungarus multicinctus multicinctus_Zhuzihu Party_05


This conclusion surprises me, since cold-blooded snakes are not a normal virus vector (in fact the word “never” might be applicable). However, with SARS, the palm civets turned out not to be the ultimate source of the disease.  The civets were eating horseshoe bats which were the original source of the virus.  Perhaps these snakes play a similar intermediary role (I can easily imagine nocturnal predatory kraits eating bats).

People should not eat primates or chiropterans for reasons of public health (eating such close cousins strikes me as morally opprobrious anyway, although admittedly, I am spoiled and haven’t had to subsist as a hunter gatherer).  Maybe they shouldn’t eat kraits now either.   Undoubtedly virologists, epidemiologists, and doctors will keep working to figure out the precise relationship between people, kraits, bats, and 2019-nCoV. Hopefully the scientists from the United States who should be dealing with this emerging plague have not all had their position eliminated by budget cuts to the NIH (although our dolt president has probably already tried to appoint 2019-nCoV as the director of the CDC).  Anyway, stay safe out there and we will figure this all out before summer. It’s never the one you see coming, and the Chinese, at least, are getting better at public health measures.

Ye Olde Ferrebeekeeper Archives

July 2020