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Center Court: Exploring Sacred Geometry Through Line, A conceptual artwork, it requires the collective participation of many activators willing to follow the rules as they create a new path with tape and markers based on disequilibrium theory.

“Marlon Forrester’s “Sideline” installation started as a basketball court taped on the floor and walls. Forrester plays on society’s propensity to celebrate and objectify black athletes, inviting viewers to use the tape to redraw boundaries that shape racist stereotypes. The space now feels more chaotic, but somehow more fertile and open.” -Cate McQuaid

This wall mural functions to both deconstruct and reconstruct the sacred space of ritual found within a basketball court. In it, free throw, three point, and half court lines become axis points, and access routes, for drawing exploration based on disequilibrium theory.

A performance series, “Passing,” in which he is prone in public — in front of the State House, in Copley Square — tossing a basketball in the air. “I use my body, a black male body, in relationship to images of power,” Forrester said. His position on the ground, he noted, recalls the space allotted to enslaved people on slave ships. The basketball pays homage to the artist’s late father, as if he’s having a toss with the old man up in heaven.

B.O.A.T. (Crane 65) bridges both the past and the future of the Navy Yard through an immersive art installation which includes large scale line drawings and sculptures. This participatory art project is located in the USS Constitution Museum’s Education Center.

Exploratory art research and development trip to my native country of Guyana to study its material culture; indigenous, African, Indian, Dutch and British histories. Day trips to Bartica to research the stories of gold mining in the interiors of districts of Guyana and local art practices. Four rivers exploration throughout Guyana’s unique tropical landscape.