Brian Carlson’s Journey: From the Ruins of Oklahoma to the Cries of Gaza and the Suffering of Yemen

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Mohammed Al-Mekhlafi    

In an age marked by rising human rights violations and a stark increase in visible injustice, art serves as a crucial window that opens pathways for expressing peace and hope. From the heart of Chicago, American human rights activist and visual artist Brian Carlson takes flight with paintings that illuminate the dark and bloody facets of our contemporary reality.

During his high school years, he faced the looming prospect of conscription into the Vietnam War. In a courageous act of defiance, he chose to reject this fate, believing that participation in war contradicted his deeply held humanitarian values. This moment became a pivotal turning point in his journey toward championing human rights, as he embraced art as a medium to express his perspectives and causes.

After earning dual degrees in visual arts, he initially found himself on a conventional path, much like any other artist. However, he soon felt disillusioned by this route, which appeared superficial and uninspiring. Consequently, he made a decisive choice to direct his work toward significant social issues, becoming a voice that articulates human suffering and advocates for positive societal change.

From the Ruins of Oklahoma to the Voice of Suffering

Carlson’s initial foray into expressive arts began in 1995, following the bombing of a federal building in Oklahoma City, which resulted in the tragic deaths of 168 people. Residing in Texas at the time, he drove immediately to the city to witness the devastation firsthand. This experience profoundly impacted him, as he grasped the magnitude of suffering and loss wrought by this tragedy.

Upon returning home, he felt compelled to do more than merely observe. He resolved to create art imbued with meaningful content that reflected the pain and suffering he had witnessed, becoming a voice for those who had lost their lives. This marked the inception of his artistic journey, which aimed to express humanitarian issues in a profound and inspiring manner.

He crafted a large mural in memory of the Oklahoma bombing victims, showcasing it in various venues to reach as many people as possible. He later donated it to the University of Oklahoma, which subsequently gifted it to the national memorial and museum in Oklahoma.

As the new millennium dawned, Carlson became increasingly aware of the pervasive issue of violence against women worldwide while collaborating with a group of creative artists. He immersed himself in this topic, dedicating two years to research and gather information and data, culminating in the creation of a prominent interactive artwork he named “Writing on the Walls.

This project manifested as a standalone wall painted on both sides with chalkboard paint, embodying the spirit of interaction and participation. On one side, he invited the public to inscribe the statistics he had collected regarding this type of violence, while on the other side, he encouraged women to share brief testimonies reflecting their experiences with violence they had endured or witnessed in their daily lives.

The aim of this work was twofold: to raise awareness of the issue and to provide a platform for women to express their experiences, thereby fostering dialogue and contributing to the dissemination of knowledge about violence against women.

Commemorating the Disappeared

In preparation for his journey to Argentina, Carlson delved into the reality of violence against women in that country and quickly learned about the years of dictatorship from 1976 to 1983. During this dark period, approximately 30,000 Argentinians were abducted, many of whom were young people, including numerous women who suffered torture and met tragic fates.

While in Argentina for an exhibition, he was invited to visit “ESMA,” a former military college that had been transformed into a secret detention center. There, around 5,000 people were held, with only a few hundred surviving, while the others were executed and buried in secret mass graves or thrown into the ocean. This tour left a profound impact on him, as he felt the terror, despair, and pain reverberating within the walls of the place.

Determined to honor the memory of the disappeared, he vowed to create a memorial dedicated to them, aspiring to return to Argentina to showcase it at “ESMA,” despite having no clear plan for how to realize this dream. This moment in 2007 marked the beginning of a new chapter in his artistic and social commitment.

Over the years, he engaged in gathering extensive information about that dark period, resolute in fulfilling his promise to the disappeared. While collecting images of victims sent to him by family members and friends, he met thousands of relatives of those who had vanished, infusing this memorial with a deep human essence, as it came to embody true stories that spanned generations.

Thirteen years after embarking on his quest to achieve a noble goal, Brian Carlson feels intimately connected to that story. His art reflects not only the suffering of the victims but also the enduring hope for justice.

The Largest Handmade Memorial in the World

“Aparedidos” is a dynamic memorial that adapts to the locations where it is installed. Characterized by its portability and relatively quick assembly, it can be set up for events lasting only a few hours or installed indoors for several months. This memorial is never truly complete; it is not merely a physical object but a continuous process and a living act. With 30,000 victims, Carlson recognizes that “finishing” the memorial within his lifetime is impossible. Currently, he has completed 3,000 portraits, which he believes makes it the largest handmade memorial by a single artist in the world.

An online version of the memorial showcases around 1,000 portraits, with each image serving as a clickable link to access more information about the disappeared individuals. Additionally, his Facebook page functions as a blog addressing human rights issues, providing a platform for sharing numerous articles and announcements about human rights activities.

Importantly, Carlson receives no financial compensation for creating this memorial; he has borne all the costs himself and continues to do so. He received two small grants that helped cover travel expenses, but there has been no other support during the thirteen years he has dedicated to creating and exhibiting ” Aparedidos.

Among the primary challenges he faced were his lack of proficiency in Spanish and the scarcity of funding, as he had no substantial grants or savings to rely on, compounded by the fact that he lived 9,000 kilometers away from Buenos Aires.

 Artistic Works Breaking the Silence on Palestinian Suffering

In recent years, Carlson decided to expand his work to include other countries, focusing on recent occurrences of state-sponsored terrorism. This expansion aims to draw connections between historical events in Latin America and current issues, where the dynamics and outcomes are strikingly similar.

In 2018, when Palestinians began the “Great March of Return,” a peaceful demonstration toward the fence separating them from their homeland, they faced brutal repression. Carlson began painting the martyrs of Palestine, particularly focusing on the doctors and journalists who had been assassinated. When Hamas was attacked on October 7, Carlson felt that the narrative being broadcast was incomplete and that many stories were misleading. The dynamics resembled those following the Oklahoma bombing, where discussions quickly shifted to “Arab terrorists,” inciting anger in the United States.

While Israel was doing what he had anticipated—launching a war portrayed as a “war against Hamas,” which was, in reality, directed against 2.3 million Palestinians in Gaza and later in the West Bank—Carlson began blogging about the events. This time, he decided his paintings would not be portraits of victims but would be based on images coming from Gaza, creating a visual act intended to “hear the story” and convey it, attempting to enlarge and transform the images into vivid colors.

Several of his paintings were exhibited at the Palestinian embassy in Buenos Aires and at a pro-Palestine art exhibition. Groups in Finland and the UK organized poster exhibitions based on his images, demonstrating how art can serve as a bridge for communication between cultures and ideas. During his interactions with Palestinians, he met a doctor from Khan Younis who worked at Nasser Hospital. A true hero, he had been forced to flee his home in northern Gaza after his work in various hospitals was invaded, including Shifa Hospital. His home was destroyed, and 25 family members were killed. Despite this, he managed to reach the south and became the head of the plastic and burn surgery department at Nasser Hospital, which was also under siege and subject to attack. Carlson recognized him from a photo he posted during a surgery performed using the flash from his smartphone. When Carlson asked if he could create a painting based on his image, the doctor immediately agreed, and they soon developed a brotherly bond, communicating daily.

Portraits Reflecting the Suffering of Yemenis

Regarding the situation in Yemen, Carlson regularly followed articles about the humanitarian crisis there. He was profoundly affected by the harrowing images he encountered, which reflected the suffering of the Yemeni people. These images informed his paintings, depicting their painful reality. These works were not merely expressions of pain but cries for awareness and solidarity.

This experience also helped him establish connections with Yemenis living abroad, particularly in Europe, where he met a group of artists and activists who shared his concerns. These connections provided him with opportunities to engage with their suffering and added a deep human dimension to his work, making him feel part of a larger narrative.

Many in Yemen exhibit remarkable courage and deep loyalty to their families, communities, and roots in the land where they were born. Their ability to maintain hope amid catastrophic conditions reflects unparalleled strength. He has witnessed their faith in God, a belief he has encountered among those he knows or has met, a faith that transcends the boundaries of ordinary human experience.

The Palestinian and Yemeni peoples serve as inspiring examples, illuminating paths of hope for our future. Their stories teach us that resilience can manifest in its most beautiful forms, even during the darkest times. They remind us that humanity is expressed in its highest meanings when we cling to our heritage and confront challenges with courage and faith.

A Call to Reflect on Our Shared Identity

Carlson is currently seeking venues to exhibit all of his paintings from Gaza, a large collection of poignant images based on real-time events. He feels an urgent need to present these works as widely as possible so that their message reaches the largest audience.

He cannot bear the costs of shipping the paintings alone, but he has worked to make this endeavor relatively inexpensive. Most of the paintings are unframed, allowing them to be simply rolled and hung from a rod or stick, much like scrolls. This option not only facilitates transport but also reflects the nature of the aesthetic works he presents.

He has learned that humans are not inherently divided and cannot be split by any material means, whether by ethnicity, race, religion, or place of birth. We are largely divided due to a handful of individuals in power who spread fear, ignite conflicts, and then claim to be the solution to the divisions they have created. Simply put, we are one family. This is his fundamental conviction, a truth affirmed by science; our ancestors were of the same kind.

In conclusion, it becomes clear that art, in its essence, is not merely an expression of beauty or creativity but a vital force carrying with it the meanings of humanity and justice. Brian Carlson’s journey, rooted in profound pain and suffering, illustrates how an artist can become a voice for the oppressed, transforming anguish into hope. Through his works, he not only highlights the wounds of the past but also builds bridges for communication and understanding among diverse cultures, affirming that humanity transcends borders and constraints. ” Aparedidos ” serves as a lasting reminder that memory is not merely nostalgia but a call to action for a better world, where peace and justice prevail, and every individual retains their place under the umbrella of human rights