10/20/2007Contents

Tom Sokolowski's Encapment Takes a Walk Through Roosevelt Island's Past

by Misha Cohen

Misha Cohen

In the late 19th century and early 20th century, Roosevelt Island was home to a penitentiary, insane asylum, and a smallpox hospital. At Southpoint, the Renwick Ruin is what's left of the smallpox hospital.

That history is far removed from the Island we know today, but the people and their stories are real. Their experiences were dark.

The Encampment, a large-scale collaborative art installation by Canadian artist Thom Sokoloski, brought their stories to light during the Fall for Arts Festival two weeks ago. For three nights, one hundred 19th-century-style tents graced Southpoint Park. Each contained a glimpse into the past, filled with art and found objects that served as visual histories for viewers. Sokoloski, together with partners Jenny McCowan and John McDowell, had invited New Yorkers to participate in this endeavor.

Some five dozen New Yorkers volunteered as "creative collaborators." Each researched and designed an installation for one of the 100 tents. Many were not trained artists, but rather Roosevelt Island residents who wanted to take a role in revealing the history of the community.

Marianne Labriola, a resident of the Island, researched Nellie Bly's Ten Days in a Mad-House and was deeply moved by the story of Tillie Mayard, a woman who was put in the insane asylum by her friends in the late 1800's and was never given the chance to prove her sanity. Her fate remains a mystery. "It broke my heart, it was so obvious that she was victimized and treated unjustly," Labriola said. Covering the ground inside her tent was a canvas on which she had painted a portrait of Mayard. A red rose was placed as at a gravesite, and there was background text. Memorializing this woman 100 years later, Labriola felt that Tillie Mayard was getting the recognition that she deserved.

The story of Mayard touched other collaborators as well. Robert Fields, who has lived at Coler-Goldwater Memorial Hospital for three years, also created an installation based on Mayard. He said, "If I could put an ending to the story she would make it out."

Reflecting on his participation with the project Fields said, "I love doing this. It creates, its keeps you going, keeps you alive, keeps your blood flowing."

Yvonne Smith, another collaborator from Coler-Goldwater, filled two tents with her colorful paintings. Thirteen years ago, she lost both her legs in a train accident and she's been painting ever since. She said, "If I had my legs I would probably be running around working or getting into trouble, I may never have begun painting."

It was natural for Smith to get involved. When she heard about The Encampment, she was excited and immediately began researching. One of her tents contained three paintings depicting life in the insane asylum, and found items that reinforced the stories - handmade nurses' caps, bars of soap, and washrags.

Over three nights, The Encampment had over 8,000 visitors, each going into many of the tents to discover the lost history of Roosevelt Island.

As night fell, each tent began to glow, small lights illuminated their contents from within, making The Encampment a striking and beautiful site visible from both sides of the East River. Women in black costumes sang dreary tunes while weaving through the space, the music for banjo, accordian, and trumpets composed by McDowell, the choreography by McCowan.

An older Manhattan couple visiting the exhibit commented, "It is beautiful but very sad. I had tears when I saw the tent with the little shoes and the painting of a girl drowning."

One Islander did not appreciate the emphasis on the Island's past. She wanted people to see the Island as it is now. But Puja Patel, a former resident, said, "I take pride in seeing people come here from other boroughs, and in realizing how far the Island has come."

In the end, Sokoloski felt good about his work. "Seeing residents of the Island participate in the piece make us feel that we have succeeded." McCowan said she was awe-struck by the beauty of the public coming together to create and experience the past. She said, "I think that what we all did together was extraordinary."