A Kiribati climate refugee staring at the sea

Josh Haner, American, born late 20th century

A Kiribati climate refugee staring at the sea, 2016

Josh Haner, a photographer who travels the world capturing human struggles, described the story of the man photographed. In it, he discussed how Kaitara Kautu lost his home due to a king tide, so he is having to move him and his daughter in with other family members in hopes he can still provide her with the culture and values of his beloved homeland. This photograph, along with others like it, shows the struggle that millions of people are currently facing. The subject is stranded physically and possibly emotionally as well, as portrayed by his downward-facing gaze. The dark clouds looming in the background further create a sense of fear, foreshadowing how more communities will be impacted by climate change. Label by Lindsey Smith

Strangers

Edel Rodriguez, American, born 1971

Strangers, 2018

Artist Edel Rodriguez was born in Havana in 1971. He is formally a writer/illustrator, who tackles issues of systemic oppression by governments and current day issues affecting those disenfranchised by society. Rodriguez is discussing the mass migration movement of people from the global south to the north in 2018, the title Strangers hints at how immigrants are considered to be less than human (depicted by ghosts and monsters) or what Eden refers to as “boat people” who are dangerous and not welcomed within the country they seek asylum within. In his own description he points to acceptance of immigration to the U.S despite potential dangers, he gives the example of Irish gangs or Italian mafias, but now the U.S seems to be scared to grant asylum because they are frightened of potential threats. Label by Isabel Schreur

Once a refugee fleeing from Cuba, Edel Rodriguez painted what others call “Boat People.” This boat full of strangers is filled with faces, some ominous, others ghostly. Their expressions reveal little about their motives, aspirations, or feelings. The only indication of their collective intentions is a white flag of surrender and peace on the tail of the boat. The monochromatic blues inform only a sense of expansion from sky to ocean and beyond. Even so, the boat sails toward darker skies, a warning of storms ahead. In reference to this piece, Rodriguez explained that the United States used to be a country that assumed the danger of immigration without hesitation. He then asserted, “This country now seems scared to take risks on foreigners, to bet on the possibility that the next boat full of strangers might be full of greatness.” Label by Katie Lee

When Ice Stretched On for Miles

Gail Tremblay, Mi'kmaq and Onondaga, born 1945

When Ice Stretched On for Miles, 2017

Artist and poet, Gail Tremblay created this handwoven basket, featuring a traditional style of weaving while using unorthodox materials, titled When Ice Stretched on for Miles. Woven throughout the basket is 16-millimeter film footage that depicts a documentary about the indigenous way of life in the Canadian Arctic. The irony in this documentary is that due to environmental harm by humans, many changes have occurred to indigenous life. The material choices the artist made when creating the basket were clearly intentional, as Gail is merging native past with the challenges of the present day—demonstrated by the traditional weaving style, but the use of modern materials and aesthetics. Gail recently stated in an interview, “Plants are dying, animals are dying, all kinds of things are out of balance … I try to address these issues in my work because people do need to think about them.” Art is an important form of communication for Gail, and it is a clear way to spread awareness of her culture’s changing lifestyle due to destruction of the environment. Label by Maeve Marsh

Survival of the Richest

Matt Huynh, US-based Vietnamese-Australian

Survival of the Richest

This is an illustration by multi-award-winning artist and storyteller Matt Huynh, for a podcast “Survival of the Richest” by Douglas Rushkoff (Future Human, July 5, 2018). The podcast told a real story and analyzed how the elite who have the power and financial resources to combat the disastrous impact of climate change would leave the poor behind. The current environment of the venture capital world has shaped the elite’s passive belief in a way that the future is no longer a result of our present-day decision but rather a predestined scenario. Both the podcast and this art piece point out the mindset of individual survival of the elite class, and their ignorance of the issues faced by the poor. Label by Yifei He