On a Sunday morning in early September, a full moon lunar eclipse was still barely visible in the late morning sky. It was on this Sunday that Slow Factory co-founders Celine Semaan and Collis Browne were joined by Ward Gallery co-curators Gabrielle Richardson and Saam Niami in presenting Heirlooms: The Forest as Gallery. Held at the Slow Factory Sanctuary in Nyack, New York—or Lenapehoking, the ancestral land of the Lenape people—Heirlooms served as both an art exhibition and sacred offering, transforming a small swatch of the forest into a living gallery.
It’s rather unsurprising that environmental and social justice organization The Slow Factory (which started as a sustainable fashion label in 2012 and has evolved into a sort of movement laboratory grounded in regenerative design, storytelling, and open education) collaborated with Ward Gallery (a New York City-based gallery known for championing talent outside of the hegemonic blue-chip space) for Heirlooms. There was a powerful synergy there—the energy in the air was not just intimate, but comfortable: like the warmth of sharing a meal with loved ones, or the kinship felt between those gathered around the same flame.
In preparation for the show, curators brought together a constellation of artists and scholars whose work and practices participated in beautiful conversation with one another: Vivien Sansour, Cassandra Mayela, Cara Marie Piazza, Carlos Agredano, Praise Fuller, and Nadia Irshaid, all exhibiting works that engaged with themes of ancestral memory, seed storytelling, regenerative food, material upcycling, and colonial violence.
Throughout Heirlooms, artworks were delicately installed upon tree trunks, suspended between branches, placed among the leaves, and even buried in the earth. Niami (co-founder of Ward Gallery,) states the show largely deals with “contextualization…