cultivating our collective memory.


about the estuary projects

The Estuary Projects is a 10-part installation series about remembering the apocalypse and re-imagining the new world. The installations aim to memorialize the lives of 11 black women who were murdered in Roxbury and Dorchester in 1979.

 Christine Ricketts, 15

Andrea Foye, 17 

Gwendolyn Yvette Stinson,15

Caren Prater, 25

Daryal Ann Hargett, 29

Desiree Denise Etheridge, 17

Darlene Rogers, 22

Lois Hood Nesbitt, 31

Valyric Holland, 19

Sandra Boulware, 30

Bobbie Jean Graham, 34


Helping us remember the apocalypse is the first function of the installations. Our ancestors have experienced and survived the end of the world. From those ashes, they’ve imagined and helped create the world they knew we deserved. Our ability to locate ourselves in our history will aid us in flexing the muscles of our imagination.


How well and how often do we use our imagination? Are our visions of the future world what they could be? The everyday injustices keep us busy, with our heads in the work, constantly putting out fires and with little time left to work on our visions. We can build the new world, but first, we have to cultivate the audacity to imagine.


Our visions can only become a reality through cycles of implementation, feedback, learning and iteration. What small experiments can move us closer to the new world? This project is an invitation, for people who want to spend time thinking about, playing with and helping create life affirming systems. The second phase of the estuary projects will be a practice in using fractals to build the new world.


strengthening the imagination.


an apocalypse in Roxbury

In 1979, 11 young black women were murdered in Roxbury and Dorchester in as many weeks. The murders, in concert with racial tensions, displacement and economic divestment in the neighborhood created apocalyptic conditions for Black women. In contrast, these conditions also served as fertile ground for the birth of the Combahee River Collective Statement which laid some of the groundwork for intersectionality and furthered our understanding of radical Black Feminism. The statement has given us a formula that can move closer to liberation. Endings, like the one in Roxbury, can and have served as a entryways to the creation of a new world. I believe, these installations will allows us to locate ourselves in our lineage, re-learn how to imagine and implement small experiments that can shift the course of our history.


building the new world.