Using scientific research and local observation, I developed designs for a series of community art plaques that could add color and information to the Kibera landscape. The images took the complex relationship of soil, and parsed it roughly into soil and food production, soil and community health, and soil and ecology.

My 12 preliminary designs were presented to a group of community representatives organized by Ibra Maish.  We met on site in the rain, and I explained my vision and shared the preliminary designs. Even rain couldn’t deter their enthusiasm.  They made a few suggestions – texts mostly in English, the official language, so children could read them. Some phrases were in Swahili, the national language, so all could understand.

Wilson and Julius introduced me to the owner of a local metal shop. I personally selected and bargained for the metal to be used in the permanent signs. Two Kibera-area sign painters, Simba Misiani and Peter Asiego, won an invitational competition to work with me on the project. These professionals had not previously worked together, and never had a western conceptual artist as a collaborator. We agreed on the fees and time to make the signs within a tight deadline defined by my plane ticket.

The metal was bought, cut and finished in an afternoon. These blank plaques were painted on both sides, to prevent rust, and delivered to my outdoor studio.  Simba and Peter worked hard on both the imagery and text.  We translated the English into acceptable Swahili, and field tested it with Kenyans working around the studio.

Warming to the project, they took my proposal for a vegetable plaque and questioned my use of a turnip. Though I could buy turnips in Nairobi, they are not common in Kibera. It was a good call, and they worked just as collaborators should.  They painted crossed leaves of a kale-like vegetable that comprised many of the meals in the area.  The twelve plaques were accomplished in three days of intensive painting, discussion and camaraderie. It was a terrific process, reinvigorating my work and I think, the pride and skills of my artistic colleagues. Reviewed and accepted by myself and KDI Kibera staff, the plaques await completion of the kiosks to be installed.

But the story doesn’t end there.  My Nairobi host loved the art plaques and commissioned a new one, at a fair price, to hang in his home. Already the Soil Sample Kenya project led to new work for my collaborator.

The project led to a new opportunity for me. Soil Sample Kenya is part of “Turn Here: Artists Advocate for the Environment’ at the Gershman Y Gallery in Philadelphia opening May 17. Best of all are the experiences and friendships that come from working with others. Wilson and Ibra, Chelina and Jessica, Simba, Peter, Muiru are now part of my creative practice. Working together, from different places, experiences and situations, we can build a better world.

Introduction

As an artist, I am interested in creative practices outside my studio. I have initiated and created permanent artworks in an arboretum, wastewater treatment plant, County executive offices and rural grange. My projects have investigated trees, earthworms, food, water and especially soils. Of course this generates more satisfaction than income, so I also work within paid percent for art programs, see www.lessick.net/gallery.

But as the US percent for art construction diminished, Kenya called. A good friend working at the United Nations in New York had transferred to the Nairobi headquarters of the UN Environmental Program. His invitation to explore African soil, a grant from Art Matters and fundraising through United States Artists led to my first trip to Africa and a multi-part, months long residency exploring global environmental efforts and my global awareness of soils, ecology and public practice.

Knowing my impending travels, KDI supporters Toni DeVito and Michael Andreen introduced me to this extraordinary practice. KDI’s vision and goals to build workable civic space in underserved communities meshed with my own. The warmth and generosity of KDI’s LA staff secured an invitation to meet with the Nairobi office.

First Visit: Sept/October 2011

Embedded in a community of agro-pastoralists and community activists, I shared bottled soda in the local one-room office of Kounkuey Design Initiative in Kibera. Ably hosted by Wilson Sagewa and Julius Muiru, I visited Kibera for the first of many times.

Nearly 1 million humans live in Kibera’s tin-roofed shacks without sewage lines at the foot of a dam. Small streams carry human and industrial waste through the hilly and eroding site. Locals rely on frail soils to feed children, chickens and pigs, and to grow hyacinth reeds for women’s crafts. This impoverished slum is home to accomplished artisans, carpenters and renowned sign painters.

My participation, adding visual content to practical form, started with a KDI building in design review, just as in an American public art project. Through local visits and connections, KDI agreed to consider a work of community art for site 3 for the vegetable and craft kiosks.  I worked to assemble a team of artisan sign painters who could interpret my research with local traditions and insight. I also took a percentage of my grant to pay local painters and material suppliers, again typical in my field.

I made connections to the World Agroforestry Center (ICRAF), a non-governmental agency with offices adjacent to UNEP. Soil Research Director, Keith Shepherd, and Program Manager, Samuel Gaturu, graciously invited me to tour their research facilities, soil labs and arboretum. They also arranged a guided two-day tour of soil conditions in western Kenya, and local efforts putting good soil practice into action.

To be continued…

With an interest in soil and a successfully funded travel grant to Kenya, Helen proposed a community art project that would explore the relationships between soil health and community health focusing on the local context of Kibera. Over the past few months Helen has worked with local sign painters to interpret her sketches into permanent signs that will be attached to the kiosk doors.

The community art idea takes local input from sign painters, produce growers, and neighbors, and uses it to discuss why these images are on the kiosks. Through their involvement and understanding, community members become advocates for community and environmental health. Kibera staff gathered feedback from the community on the proposed plaque designs, content, and colors. Helen returned to Nairobi in March to work directly with the sign painters and implement the community art project as a colorful, no-cost addition to the community.

See www.lessick.net/gallery to view other works by Helen.

Haiti, roughly the size of Maryland, is the western third of the island Hispaniola (shared with the Dominican Republic). Flying into Port-au-Prince one can see the difference in environmental degradation between the different regions of the island. For our projects in Haiti, environment is a critical element of livelihoods and economic development. One of the things you hear about Haiti, and what became extremely apparent over the week, is the need for transportation infrastructure. Our airplane runway in Port-de-Paix was unpaved and also served as a road for pedestrians, motorcycles, and cars alike. The only paved roads we encountered in the Northwest were along the main roads in the larger towns and one or two smaller communities. What does this lack of transportation infrastructure mean for Haiti? It means a 20 km trip in a military grade truck can take up to two hours. It means in places like Bonneau food insecurity and economic development is worsened by poor access that inhibits the import and export of agricultural products (nationally 50% of food requirements are imported). It means that construction, water access, sanitation, and electricity access and costs are directly related to transportation infrastructure. Our projects are directly affected by transportation infrastructure, which limits material access, markets for micro-enterprises, and construction equipment. This means innovation is key, creating new materials and repurposing old materials is required, and community participation is more then essential.

For more information on the award go here.