Accessible public art embedded with sounds is an enhancement for The Social Sculpture Project at Lincoln Center. Two Black women’s passions led to the creation of their works on display in the center’s Hearst Plaza. Ebony M. Burton’s “Ultramarine” and Sadah Espii Proctor’s “adrift: the bayou project” both incorporate blues, sounds, and deep dives into historical matters. Burton, an Oakland, California native, anticipates changing the narrative of art belonging to the “upper-class” through her outdoor pieces.
“Often, art is seen as something for the elite,” said Burton. “I knew I wanted to do something that felt big and that would stand out from the rest of the area.”
Likewise, Espii is delighted to have her art in an outside space. The proud Virginia Tech alumna, with a Liberian and Guyanese background, was influenced by the stories of those who lost their community, San Juan Hill. That community, once home for African American and Caribbean culture, was destroyed when Lincoln Center was created. This relates to Espii’s piece with the idea of Black people always looking for “home.”
“Ultramarine” focuses on the lapis lazuli stone and its shade of blue, historically the most expensive color in the world during the Middle Ages. Burton’s installation redeems this specific shade, along with imitated lapis lazuli stone. “It’s a combination of new and reclaimed materials,” said Burton. The NYU Tisch Alum kept a huge collection of buttons, citing over 20,000. “Those are all used or vintage buttons, but they are also beads, sequins and other materials from plays that I have worked on.”
Burton’s bright blue oasis provides color to the gray, dull setting of Hearst Plaza, comparable to Espii’s blue frames. “adrift: the bayou project” is a multilayered, multi-dimensional exhibit surrounded by the story of spirits from decades ago in search of home and separated families. This interactive audio work has three blue frames serving as the main physical component, and a component which consists of digital newspaper letters from the post-Reconstruction Era.
Brenika Banks photos
Ebony M. Burton posing with artwork, “Ultramarine” in Lincoln Center’s Hearst Plaza. 
Ebony M. Burton posing with artwork, “Ultramarine” in Lincoln Center’s Hearst Plaza which presents a bright blue oasis and other shades of blue. 
Sadah Espii Proctor posing with a frame from her artwork, “adrift: the bayou project.” 
Historical letters from Sadah Espii Proctor’s “adrift: the bayou project” when QR code is scanned. 
Lincoln Center visitors observing from Sadah Espii Proctor’s “adrift: the bayou project in Hearst Plaza. “
Espii’s fascination with how people walk around, unaware of liminal space, is a contributing factor to this artwork. “Those that are curious to activate and be able to see the stories and to listen, that’s how we access that space in between,” said Espii. The aspect of sound was equally essential to Burton as her seven pieces for “Ultramarine” all have accompanying soundscapes via QR codes. She worked with a composer who was familiar with her art and who understood her vision. Burton’s audio addition was intended as a break from the city’s fast pace for visitors. “Each of them incorporates sounds of direct interaction with each piece,” said Burton. Sounds include hearing ringing, distinct sounds of buttons while viewing her installation. She undoubtedly wanted an oasis, pop of color to be mainly featured in her art amongst the grays and browns of the city. She revised her work several times, searching for what was necessary for that space. “I wanted something that would draw the eye from a distance,” said Burton. Her revisions helped Hearst Plaza eventually become home for “Ultramarine.”
Espii, meanwhile, aimed to explore the idea of what home meant for the Black diaspora in the U.S. Many freed slaves of African descendants post-Reconstruction Era were forced to migrate; while others also voluntarily migrated. A space created for Black people’s comfort, rest, mourning, and reflecting seemed necessary. Espii associated memory and remembering with storytelling in an artistic form.
The newspaper clippings within her project connect to Black families’ postings in publications to assist with finding lost family members, especially those separated during slavery. An audio from one of her three frames said: “Knowledge of the whereabouts or death of Betsy Burr is wanted by her daughter […] The above was forwarded to us through the mails and we asked the newspapers of the state to publish it.”
The postings of the misplacement of loved ones in Black newspapers was also read out loud in churches on Sundays. This method helped many families find each other. Espii encourages everyone to investigate the letters beyond her piece at Lincoln Center and understand more of the Reconstruction Era. The art of remembering is still strong and easier in the present day via social media. According to Espii, the medium is different and quicker, but people still participate in reuniting and remembering.
Burton’s piece will certainly be remembered for its vibrant blue and green with an eye-catching gold as an accent color. Her goal is for the plaza’s visitors to feel brighter and view her work as a highlight while passing by. She believes some people can see the many buttons associated with her art, immediately understanding and appreciating this labor of love. “I just love creating!”
For more information, please visit www.lincolncenter.org/socialsculpture