After Marrikka Trotter’s introduction, Darell Wayne Fields discusses his varied works in terms of “unraveling the deconstruction of individual, separate and atomic Black bodies in diasporic space” such that they “emit or project artifacts of experience beyond racial confinements”.
He touches on his writings (“Appendx” journal, “Architecture in Black”), the exhibition “On Solitude”, and projects including the Hatcher Street Cenotaph, houses for Kara Walker and Josephine Baker, “King Alphonso” after Jean-Michel Basquiat, and the Lylle Reynolds-Parker Black Cultural Center at the University of Oregon.
Fields concludes with the suggestion that “The artifacts, interacting together, signify and witness architecture’s subtle yet persistent unraveling. Patiently Blackness pulls on architecture, thread by thread. As a result … architecture is slowly becoming something else.”
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