Epicenter: Origins and Evolution
Epicenter: Origins and Evolution, A conversation between Maria Sykes of Epicenter and Andrea Zittel of High Desert Test Sites
This conversation took place before the collaborative event HDTS: Epicenter, which brought twelve different artists and collaboratives to the landscape around Green River for a weekend of installations and performances in October of 2015.
Andrea Zittel: First of all can you tell me a little about the founding members of Epicenter, who you are, where you came from, and how you met?
Maria Sykes: Epicenter was founded by Rand Pinson, Jack Forinash and me; we all attended Auburn University in Alabama where we studied architecture together for five years. After finishing school and learning from initiatives like the Rural Studio, we sought a place where our talents and passions could be utilized for the greater good. In college, Jack and Rand were roommates and best friends, while Jack and I were friendly adversaries. We were a good trio to get things started at Epicenter. We were anxious to get our hands dirty and, naively, to create change within a small, rural community.
AZ: It’s great that you mention the Rural Studio because this is a reference that Aurora and I always use when we mention your program to people, but then I often realize that a lot of people don’t know about the program. Samuel Mockbee is a figure who I’ve admired a great deal; do you mind describing his project, the Rural Studio?
MS: The Rural Studio is an off-campus architecture studio started by D.K. Ruth and Samuel Mockbee. The program gives students hands-on design-build experience in one of the poorest regions of the nation. The Rural Studio has its flaws, but the fundamental belief that everyone deserves good design regardless of their socioeconomic status resonated with me and my co-founders.
AZ: I’m curious to know which came first: the idea of moving to Green River or that of starting Epicenter? And how did you wind up in Utah anyway?
MS: The idea of moving to Green River came first. Jack started the trend by coming to Green River after school as an AmeriCorps VISTA, and Rand followed shortly after. I came for a short visit and half-jokingly mentioned "buying and renovating that old bar on Broadway." Upon returning home from that visit, Jack informed me that they were moving forward with securing that building and invited me to join them in the endeavor. I quit my job in Atlanta, packed up my car, and drove out to Green River. The original plan was to just spend the summer both renovating a historic building (which would eventually become the Epicenter headquarters) and developing affordable housing solutions for an existing local non-profit called PACT. One season turned into a year, and the renovation project became the organization. Now we've been here for over six years! Rand moved away from Green River years ago but still serves on our Board of Directors from afar. Jack and I were eventually joined by Chris Lezama in 2011 to form the new trio. Jack acts as Principal of Housing, Chris as Principal of Economic Development, and I act as Principal of Arts & Culture. In addition to the Principals, Epicenter is supported by AmeriCorps VISTAs, part-time housing specialists, and a cast of short-term interns, Frontier Fellows, and contractors.
AZ: That is an amazing story! So it really sounds like coming to Green River and starting Epicenter was serendipitous. I hope you don’t mind my asking more technical questions, but AmeriCorps is something that I’ve been hearing a lot about since we started working with you, and I’m still trying to understand what this program is. Do you mind explaining a little more about how it works? For instance, I don’t personally know of any artists who have been involved; why is that? Who typically becomes involved and how is it structured?
MS: The easy description is that AmeriCorps is the domestic version of Peace Corps, but there's more to it than that. AmeriCorps engages more than 75,000 Americans in intensive service each year at nonprofits, schools, public agencies, and community organizations across the country. These organizations, in both urban and rural places, host AmeriCorps members to help move their community forward. There are different branches of AmeriCorps including State and National (direct servers), VISTA (capacity builders), and NCCC (laborers - similar to the Civilian Conservation Corps of old). There is a long history within architecture/design/art of utilizing AmeriCorps concepts. Some people call this public interest design, design-thinking, being a citizen architect/artist, human-centered design, social-practice art, public practice, post-gallery/studio, site/context-specific work, and/or community-based design. The name and the jargon changes every couple of years, but the idea stays the same: art/design is for everyone, the artist/designer should work with (not for) the community, and the work should honor place and context.
AZ: The idea of working with the community is really one of the things that inspired us the most about Epicenter. For instance, I love the fact that you provide urgent minor home repairs for local homeowners! In my mind the sheer practically and the necessity of a service like this completely trumps everything. Do you mind giving us a brief rundown of these different kinds of projects that Epicenter undertakes? I also know that you provide resources for small local businesses; what is an example of something that you do with these businesses?
MS: We like to think of our practice as a holistic approach to community development through three major focus areas: arts & culture, housing, and economic development. The flagship program for the arts is the Frontier Fellowship, a residency program that allows Epicenter to host artists and designers to perform place-based and community-engaged small-scale arts/design projects. One of the most successful projects is our recent “This Is Green River” exhibit and documentary short film. The exhibition is a collection of local stories tied to personal objects. The film highlights a few of our town’s local characters. You can see the exhibit and the film at the John Wesley Powell River History Museum until the end of October 2015. With housing, the main program is Fix It First, the critical home repair program you mentioned. The program was started after the City and Epicenter performed a city-wide assessment through which we found that 46% of homes in Green River needed repairs. We see each project through from beginning to end; we design the response, perform the financing, and provide the construction labor (unless it requires a licensed electrician, for example). Fix It First has served over 30 households in the past few years! Our main economic development program is the Potluck group we facilitate. As the name implies, Epicenter gathers various business owners twice a month, but instead of bringing food to share, the group brings ideas and a willingness to work together at the table. The group is currently working to make Green River a destination through improving communications between all business owners/managers, improving the appearance and hospitality of local businesses, and determining a brand for the town.
AZ: The range and diversity of ways that you engage with the community is so far reaching, I am curious if you and your co-founders still identify as architects, and if you feel that being grounded in an architecture background affects the identity of Epicenter?
MS: Well, Jack and I can’t identify as architects because we are not licensed architects. We think of ourselves as “architecturally trained designers.” Very little of our time is spent designing, so even that title seems inaccurate. We’ve always struggled with articulating and labeling our work. I think the current definition of architect is quite limiting. In many ways, we do like to think of ourselves as redefining what an architect can be—as inspired by Samuel Mockbee. But also, we’re blazing our own path since we’re doing this sort of work in a rural environment and outside of academia.
AZ: Bringing the conversation back to Utah, I thought that it might be valuable for visitors to HDTS: Epicenter to have a little insight into the character of the community of Green River. What can you tell us about the town’s personality and the people who live there?
MS: The people here are not dissimilar to the folks I grew up around in the rural South. Green Riverites and their descendents are pioneers and settlers, cattle ranchers, farmers, radical entrepreneurs, and boatmen on the roughest rivers in the country. Green River is full of pull-yourself-up-by-your-bootstraps kind of folks with give-the-shirt-off-of-your-back hearts. Don’t double-cross them, though, or you’re looking at a lifetime grudge. You’ll find people fighting over water rights one day and supporting a church event together the next.
AZ: Does living in rural Utah feel like a significant cultural shift? What have you gained or learned from this experience?
MS: The main thing I’ve gained through living here is that I’ve reaffirmed my conjecture that rural places are not a cultural desert. There is history, folklore, heritage, tradition, and unique culture here not immediately apparent. Rural places unfold to you over time if you have the patience. I think the only thing that is significantly different from anywhere else I’ve ever lived is the lack of 18- to 35-year-olds. Like many rural places, kids graduate from high school and leave. Some of them come back, but they are in the minority. This means most of the people I interact with daily and/or call my friends are outside of my age group. I’ve grown to like it, but it’s always a shock when I leave Green River, look around me, and am reminded that other thirty-one-year-olds exist! I’ve learned that I need this place, and this place needs me. Living in a city, you’re literally one in a million (or more). Sure, you can make a difference in a big city as a designer or architect, but in a town of 952, you are able to witness your successes (and failures). Renovating one of ten historic “downtown” buildings in a rural town is a big deal. I’ve learned that living in a rural place is powerful. The local government is very transparent. If I have a problem with a local policy, I go directly to the mayor or city council; they listen. It’s empowering to have a voice and be heard. I’m even running for city council this year, which is not something I would have done in an urban place. I’ve learned that living in a rural place doesn’t mean you’re disconnected. The city of Green River is situated on the Green River, which connects to the Colorado River before entering the Grand Canyon. Green River sits on Interstate 70; we can be in Vegas or Denver within 5.5 hours. Plus, there’s an Amtrak stop in Green River that sits on the San Francisco-Chicago line. We’re isolated out here, yet surprisingly connected.
AZ: Last of all, it would be really wonderful to know what is next for you, both personally and with Epicenter? Where are you thinking about taking things in the future?
MS: All of Epicenter’s programs are continuing to mature, but the idea is that they have an end date. Fix It First will continue until substandard housing is eliminated. Potluck and the Green River Improvement Team (GRIT) will continue until the town is thriving. The Frontier Fellowship will continue until it seems unnecessary. Our organization morphs to accommodate the community’s needs and we’ll continue to do that until the community no longer needs us. Me personally? I’m in Green River working at Epicenter indefinitely. I bought a house in Green River last year, so this place is truly my home now. My main passion here is bringing artists and designers into town to work with Epicenter and the local community; it’s incredibly rewarding work when we get it right. Maria Sykes is a co-founder and Principal of Arts & Culture at Epicenter. Andrea Zittel is an artist and co-founder/director of High Desert Test Sites.
