Art

Tsunami Clay Sculpture

“Landfall”

a series that recognizes the human suffering in the aftermath of natural disaster

As an artist, I embody the strengths of straightforwardness, honesty and sincerity. I have a cosmic tie to other countries and come from a place of empathy in my work. The aim of my art is to try to understand something beyond my own experience, to increase others’ concern for survivors of disaster, and to move people into action.

Tsunami Clay Sculpture
Tsunami, 2019, Clay Sculpture
Sculpture of Woman with Hands on Head
Calamity, 2019, Bas Relief Clay Sculpture and Found Objects
Clay Sculpture of Palm Trees and Power Lines in Wind
Cyclone, 2019, Bas Relief Clay Sculpture and Found Objects

 

Clay sculpture of man's legs and huts in water
Flood, 2109, Bas Relief Clay Sculpture and Found Objects

Let me take you back to December 26, 2004. My family awoke that morning after Christmas to learn that a deadly Tsunami in the Indian Ocean followed possibly one of the deadliest earthquakes. The earthquake struck near Indonesia and ejected energy equal to approximately 23,000 atom bombs as fired on Hiroshima. The destructive waves traveled as far as 3,000 miles to Africa and still arrived with sufficient force to kill people and destroy property. This environmental disaster resulted in at least 227,898 fatalities. (Compare this to the number of moralities in the September 11 attacks on the US: 2,996.) My family was sponsoring a teenage girl, Ajeng Pratiwi, in Jakarta, Indonesia at that time. When I heard the news of the disaster, I was fearful for her life. Thankfully, I was relieved to soon learn that her village had been spared.

The following year, Hurricane Katrina struck our country, and Ajeng was equally concerned for us. My family and I were vacationing in South Carolina when Katrina hit New Orleans, Louisiana. It was an emotionally gloomy week. We were glued to the television watching people on their rooftops, hoping for rescue. It was difficult for us to carry on and enjoy ourselves. Our hearts were heavy as we dragged ourselves to the beach and pool. Although our sponsorship of Ajeng was brief, these circumstances impacted me for a lifetime. There was an emotional bond between us even though we never met personally. I believe it is important to establish bonds such as these, remembering that we are part of a global community. The Parable of the Good Samaritan, as told by Jesus in Luke 10:25-37, impels me to have mercy on my neighbor. I am actuating this commissioning by doing what I can, from where I am, with what I have.

In my career, I hope to simultaneously honor the survivors’ pain and bring them hope. Where forces have destroyed, I long to provide a space to reflect on the loss and to also resurrect and restore. Such grave misfortunes are opportunities to not merely rebuild as things they were but further to revamp them. Through environmental community art therapy, I intend to promote post-traumatic growth of those in affected areas.

My goal is to be among the ruins. I expect to beautify spaces that have been destroyed by the forces of nature. For now, I leave my artwork as my soulful contribution to relief efforts. If you would like to give hope, consider World Hope International, a humanitarian organization that addresses the needs of those in urgent need of relief.

My deepest interest is for the condition of the human heart, while the objective of my art is twofold: to challenge the comfortable and to comfort the challenged.