FUTURES OF REPAIR
Futures of Repair is a social dream space at the intersection of art, imagination, night life, and community.
Wednesday - Sunday
6:00pm - 10:00pm
Reservations Required
Abundant Shorelines!
Our intention is to offer space and time for us to imagine boldly together, to re-connect to ourselves and each other, to restore our hope in humanity, and to embody and practice the future world that reparations and repair make possible; a world of love, healing, regeneration, and interdependence.
What if we repaired the harm and collectively birthed a world; beautiful beyond our wildest dreams?
We invite you to be in the dream space in the following ways:
1. Experience our restorative IMaginals - sonic dreamscapes, with tea service, that transport you to futures where reparations has allowed a culture of repair to emerge.
2. Interact with restorative artifacts created by six Afrofuturist artists and time travelers. Having traveled to the future and experiencing repair, each artist has created new art works to share what they’ve learned about repair, what it feels like, what it requires and to invite you to practice and embody repair. The map of the dream space on the following pages will guide you in how to interact with the artifacts.
3. Spend time at our communal altar honoring our ancestors in the lineage of repair, reading resources on repair, healing and reparations, and reflecting on the repair you desire and the repair you feel is possible.
4. Stay awhile. Just chill. The space is yours. Explore, reflect, journal. day dream, chat, drink tea, read, nap. Connect with others. Share your thoughts and feelings about repair. Come back often. Over time we’ll have more events and gatherings to expand our shared practice of repair.
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We think of harm as something that cracks, bruises or fragments. As something that creates trauma, fear or anxiety; as something that causes mistrust, separates, and that creates a rift or wound. It divides. It is something that interrupts, that distracts, that limits life giving resources. And when harm is not treated it festers, and becomes infected. It compounds and grows and absorbs everything around it, the entire body is impacted. It can affect others directly and indirectly.
So we learn how to heal. How to repair. How to make things whole. We apply medicine. We convalesce. We remove stagnant blood. We stitch things back together. We remove the infection. We apply care. We respond to the pain. We seek remedies. We apologize. We seek forgiveness. We embrace accountability. We restore wholeness, safety. We nurture. We listen. We promise not to repeat the harm.
Even as we consider our shared purpose in repairing and healing from the harms caused by colonialism, slavery, white supremacy, and genocide and the systems that have been constructed on top of them..we are invited to consider repair as a fractal, repair as a way of being, as a practice, as an act of devotion and creativity, as a sacred responsibility, as something we embody in every part of our lives…
Why imagine a world of repair now? Is this the right time to be thinking about repair and Reparations?
It is always time to do what is right. In order for repair to be possible we need to be imagining and experimenting and embodying it well before the time seems opportune or ‘strategic’. Abolitionists thought about repair long before Emancipation felt possible. In a time of great uncertainty and grief, where systems are hurtling towards extremes of harm, it is our right and responsibility to cultivate palpable visions of more beautiful futures, on behalf of our collective descendants, all who will inherit the earth after us. It is precisely the time when we need to offer an alternative. It is our responsibility to create glimmers of light that we can nurture in our cupped hands and breathe life into until we collectively grow something so undeniable that it becomes our new reality.
In order to end the cycle of domination, extraction, and violence, and return to a life of love, regeneration, and interdependence, more of us must be committed to repairing harm as a way of being, as a value, an identity, as a story, as a strategy, as a transformative pathway, as a culture, and as a set of interlocking systems. It is necessary to boldly build a world where we are actively engaged in repair; to understand that it is always the right time to repair harm, to heal lingering pain, and to cultivate ease and soothing. It is our highest calling to be a balm, an embodiment of the best we have to offer.
We are cultivating space and time for an immersive, embodied experience of repair and reparations. In so doing we wish to be part of an ecosystem of artists and cultural workers making art that makes reparations irresistible; that makes it inevitable.
What future worlds does reparations make possible?
We invite you to explore the futures made possible by a dream of Reparations. Looking through the lens of six integral relationships that have been fractured by the harms of colonialism, slavery and white supremacy ----
1) self,
2) community,
3) social structures,
4) the land,
5) the Cosmos,
6) our lineages;
and the desires, ideas, and visions of 120 artists, creatives, organizers, and leaders from our communities, participating in six world building peoples assemblies. This is a dynamic space that invites you to deeply contemplate and embody practices of repair.
Through interactive multi-sensory art, extended reality, guided dreaming, story telling, textile art, and restorative practices the dream space invites you into these future worlds, offering experiences that challenge existing paradigms and provoke new possibilities. It will serve as both an acknowledgement of past injustices and a space for envisioning how Reparations can repair, heal, and catalyze a better future for all.
Wednesday - Sunday
6:00pm - 10:00pm
Reservations Required
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CONTRIBUTING ARTISTS
ALISHA B. WORMSLEY
A VISUAL MANIFESTO: RITUALS FOR REPAIR
A Visual Manifesto: Rituals for Repair is a three-part experimental film installation and ceremonial offering rooted in Black feminist cosmologies, ancestral veneration, and the ongoing call for reparations. Projected onto three large black weavings inspired by African American quilting motifs—specifically three variations of the Log Cabin pattern—the films unfold as a multi-sensory manifesto. These weavings serve as sacred grounds, portals, and spiritual armor, holding space for Black femme voices to offer demands and prayers for repair. Each film takes place in a distinct geography—Oakland, California; Tucson, Arizona; and Washington, D.C.—and centers Black women artists, healers, and caretakers as they navigate the intergenerational labor of survival and re-matriation. In this work, “repair” extends beyond policy or capital. It is spiritual, embodied, and relational. It begins with the premise that we must feel safe to repair—and that the power to do so exists within us and our communities.
AMERICAN ARTIST
CRT ARCHIVE, 2025
This network of black box computers is interconnected with one another but disconnected from the world wide web, making it only accessible to visitors of the location in which the computers rest. The computers contain a comprehensive repository of Critical Race Theory (CRT). By remaining offline, the archive remains protected from tampering or state censorship. It also protects the archive from destruction in the event of a nationwide or worldwide internet outage. When the archive is powered by a generator, it becomes insulated from many foreseeable crises, whether manmade or natural. CRT Archive serves the legacy of CRT to future generations of radical learners. The sculpture nods towards the parallels in language between CRT (Critical Race Theory) and a CRT (Cathode Ray Tube) monitor, the large style of monitor that defined the first half-century of computing. Ironically, in this display there are no screens, only files meant to be accessed by those visiting the gallery.
ARI MELENCIANO
INNERCODEX
InnerCodex is a dual-installation experiential study in inherited affect and emotional orientation. Through a sound-based cinematic experience (“sonema”) and a work of emotional cartography, the work invites visitors to trace how emotional patterns are formed, internalized, and potentially re-authored. Drawing from the early sensory imprint of the womb to the shaping influence of social environments, InnerCodex explores how we move from absorbed feeling to conscious emotional literacy.
Radio Azueli is a non-linear sonic film (“sonema”) that invites the listener to re-enter the womb as a conscious witness, equipped with the perceptive capacity to sense and interpret its atmospheric imprint. Rooted in the premise that each of us first encountered the world through our mother’s emotional and cognitive reality, the piece approaches the womb as our first habitat of influence and a formative landscape imprinted on us before we could be conscious of it. Using layered, filtered, and abstracted sound, Radio Azueli evokes what it might mean to inhabit another’s inner world from within, and how that early exposure shapes who we become upon emerging.
The Periodic Table of Emotions is a large-scale visual schema that organizes human emotions across intersecting spectrums of drives, temporal orientation, and energetic states. Designed to offer more than categorization, the piece proposes a logic of emotional relativity: that each feeling exists in relation to others, often shaped by one’s orientation toward connection, fear, autonomy, belonging, or grief.
NU GOTEH
In the Presence of Resonance.
In the Presence of Resonance is a haptic sound sculpture that invites visitors to lean—not sit, not stand, but suspend themselves in between. Crafted from wood and engineered to transmit low-frequency vibration, the sound sculpture pulses with a durational rework of Aly-Us’s 1992 house classic “Follow Me”. This pared-back rendition reveals the song’s emotional core—chords, vocals, and a steady bassline that evoke longing, intimacy, and collective possibility. Inspired by sound system culture and the form of the obelisk, this work explores resonance as a language of the body. Vibration begins in the floor and moves through the sound sculpture into those who touch it. The act of leaning becomes a metaphor for interdependence—an asymmetrical posture that redistributes weight when shared. The more bodies engage, the more balanced the system becomes. Rooted in Black diasporic traditions of coded communication through rhythm and repetition, In the Presence of Resonance reframes repair not as an endpoint, but as an ongoing, communal state. It elevates bass—the low-end, often overlooked register—as a primary channel for embodied connection. This is a sculpture you don’t just observe—you feel it, with and through others. More than a monument to stillness, but a living conduit for trust, shared awareness, and communion.
RORY SCOTT
IMPERMANENCE | RITUALS OF RETURN
Transformation and repair aren’t solely the result of effort, they are also rooted in our ability to feel safe. Without a sense of safety, the heart remains guarded and true sustainable change remains just out of our reach. Impermanence | Rituals of Return is a multi-sensory, research-driven installation by Rory Scott that explores how creating a practice dedicated to cultivating calm and safety (physically, emotionally, energetically and environmentally) can bypass the over-thinking mind and unlock deep healing within the heart. Blending art, technology, scientific research, spirit and personal journey, the work is grounded in Scott’s lived experience of grief, self-repair and spiritual evolution. The result is both a sanctuary and an invitation to reimagine healing, as a daily act of practicing embodying “calm” as care and as who we are. The installation is visually inspired by nature and nostalgia. As well as the beauty and light that still remains within and outside of us, to be recognized and embraced even in our darkest hours.
Terence Nance
HIEROPHANT.
Hierophant is an altar and reflection device designed by Terence in response to an invitation to think about repair. One way to approach psycho-spiritual repair is through play with archetypes which show up in many human cultures. Hierophant is thus a “reparative play” device. The exhibition of Hierophant is a sharing point within a previously conceived on-going practice of using television technol-ogy and ritual technology to play with archetypal entities. Most recently this ongoing practice has been introduced by Terence in the form of an on-going ritual / performance project called 4th Dimension Trigger 5th Dimension Trauma. In 4D5D - performers use motion capture, improvised music and dance, as well as masking and costume to ‘trigger’ themselves into experiences with archetypal entities. This play is designed to provide catharsis, guidance, knowledge of self, and indescribable “numinous” experiences. Hierophant is a physical product produced by this practice. It is idiosyncratic because it can be used alone and it makes use of television technology, and the embodied practice of sitting down to watch Television, a dying routine in western culture. Terence’s fascination with archetypes descends from many intersecting modes of experience: His time as an athlete and the states of possession he experienced, his practice of IFA, his study of alchemy through Jung’s alchemical commentaries, his formal study of fables, neurology, and epistemology through Wynter’s revolutionary primings. And his feeling into prophetic practice through his study of Octavia Butler, Arthur C Clark and his own predictive cinematic works. Hierophant is a product created by Black Matter Inc. a company that uses Black cosmological view to design and create products which make use of emergent technologies.
ISH AL-HURRA
COMMUNAL ALTAR.
The Communal Altar invites visitors and guests to reflect, remember and reconnect to our ancestral traditions of repair. Referencing an imagined future world where our diasporic relationships have been repaired and where we have returned to the land, the altar invites us to engage in well known and often forgotten rituals of spiritual and emotional healing that connect us across time and space.
MICHAELA AYERS
ALTARWORKS.
Michaela was commissioned to create three ceramic altars/incense burners that reflect some of the symbols and intentions created for the Futures of Repair social dream space.
