描述
THE DARIEN GAP, THE SILENT FOREST
A poignant and powerful new project by the Emirati artist Jamal Habroush Al Suwaidi tracks both the terrible suffering endured by migrants and the deadly dangers they face in their attempt to cross the almost impenetrable Darién Gap.
In a new project, the Emirati artist Jamal Habroush Al Suwaidi once again tackles the topical issue of immigrants making a treacherous journey in search of a better life, but this time shifts his geographical focus from the perils of the Mediterranean Sea to a highly dangerous region of The Americas.
Al Suwaidi’s latest work takes its title from ‘The Darién Gap’, the name of the notorious no-man’s land between Colombia and Panama, or ‘silent forest’ as the artist describes it, which is the focal point of this powerful installation.
Created in three components, the work depicts the almost impossible and usually deadly journey undertaken by migrants in their bid to reach the US, while highlighting the many dangers they face along the way.
In his work, Al Suwaidi highlights the terrible suffering that the migrants endure on their journey, sometimes dying slowly, lost and starving, and on other occasions killed in a split second by smugglers or venomous snakes. His narrative is given added poignancy by the high hopes so many of the migrants have, before setting out, of starting over in a new country, either unaware of the dangers that await them en route or desperate enough to take huge risks.
The migrants’ perilous voyage is accentuated by Al Suwaidi’s use of a harsh metal wire to depict the journey, meandering in nature, with difficult choices: should the voyagers keep going or turn back? We can only imagine these heart- wrenching dilemmas they face, exhausted, fearful, thirsty and hungry, unsure, now, whether they will ever reach their destination and having to grapple with different dangers every step of the way.
A CROWN OF THORNS has its roots in ancient Greece, like the labyrinth, but many other metaphors are also at play here. Al Suwaidi looks back to the ancient Olympic Games in Athens, when the winner was presented with a wreath made from wild olive branches (kotinos) as his prize. The olive tree was highly significant to the ancient Greeks, serving as a mark of peace, wisdom and triumph. However, in Al Suwaidi’s work, the crown is a false or fake prize, delivering pain rather than joy and certainly not a reason to celebrate in the way that Olympic athletes are witnessed, proudly wearing their headpieces, victorious.
Commenting on the project, Al Suwaidi explained that while he’d found it a challenge to put the suffering of the migrants crossing The Darién Gap into words, describing their experience through art had been something he felt must be done.
“Crossing The Darién Gap is like walking through a labyrinth,” he said. “Once you’ve crossed the silent forest, you find yourself faced with two choices: either to go back or to continue running through the labyrinth.”
He added that tragically, many of the migrants were under the illusion that The Darién Gap was the bridge to the ‘Big Dream’, wonderful opportunities and a new life. “Unfortunately, however, this is not the case,” he noted. “Instead, it is the bridge to death.” Al Suwaidi’s work forms part of a broader project of around 25 pieces, each of which forms an integral chapter in the tragic, end-to-end narrative of the migrants’ desperate search for a better life.
Summarising, he said: “I hope that one day, this horrendous journey across the silent forest and the indescribable suffering it causes will end.”