For
many people, their awareness of the millions of orphaned children in
sub-Saharan Africa is limited to photographs in
National Geographic or
charity commercials. According to
UNICEF, the number of children
orphaned by HIV and AIDS alone is a staggering 12 million and the
numbers are expected to keep rising. Disease, famine and poverty have
plagued Africa for decades, but unfortunately these children are
largely forgotten. However, one Albuquerque artist is working to boost
awareness and raise money to help shelter, feed and educate the
children of sub-Saharan Africa.Deeply
affected by what she witnessed photographing children in the slums of
Kenya four years ago,
Naomi Natale decided to put art into action. For
the past two years Natale and about 10 to 12 other volunteers have been
organizing The Cradle Project, an art installation consisting of over
500 representations of cradles in all shapes and sizes. Each cradle is
sponsored by a donation of $100 and many will be sold in an online
auction from June 7-17.
“The
cradle represents the loss of potential and talents never nurtured,”
Natale said in a recent interview. “The cradle was the only symbol that
would do (the plight of these children) justice. I just really believe
in the beauty and sacredness of childhood and it’s really sad that
these children can’t enjoy it.”
Artists
from all over the world, including school children from right here in
New Mexico, donated their creations to the cause. The only stipulation
for the project was that the cradles had to be constructed from found
objects or scrap material. Many artists used items found in nature such
as twigs and leaves to create nest-like structures; others used
discarded parts of common household objects such as chairs, stuffed
animals and mirrors. Barbara Grothus, a project coordinator and artist
created “Cradle of Civilization/The Fertile Crescent,” an old fashioned
lawn fertilizer filled with shredded Persian poetry that serves as a
symbol of hope and fertility.
Some
of the cradles are conceptual, such as Natale’s own entry, which is
essentially an escape ladder hung from the ceiling and curved into the
shape of a cradle near the bottom. Another striking piece is “Womb
Illusion” by PD Rearick, made from a mirror, a clothes rack and a
reflection globe. The sculpture creates the illusion of a whole cradle,
symbolic of the possibilities of these children’s future, which is so
dependent on increasing awareness around the world of the situation in
Africa.
Other
cradles are more literal, using antique doll cradles filled with twigs
or fabric. The exhibit’s juxtaposition of cradles that represent the
more morbid and disturbing aspects against cradles that exude feelings
of comfort, is an emotional experience. The artists were all clearly
inspired to try and make a difference in the lives of these children.
“The artists were moved just in participating,” Grothus said. “It meant a lot to (the artists) to be a part of it.”
The
7th and 8th floors of 219 Central NW, now on loan for the exhibition,
will soon become loft apartments. But for 11 days in June, art lovers
and champions of social justice alike will be able to experience an
inspired exhibition with a message that will hopefully enlighten and
motivate steps toward change.
The
Cradle Project book will be available for sale at the June 7 opening
reception. All proceeds will be donated to The Cradle Project’s partner
organization, The Firelight Foundation, which works directly with
orphans throughout sub-Saharan Africa.
BY JESSICA ADAMS
