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"One who acquires a slave acquires a master."
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(The Talmud: Kiddushin 20a)
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Against the backdrop of a cobalt supply chain, artisanal miners in the Congo dig, extract, and wash most of the world's supply of radioactive cobalt, an essential component of every lithium-ion battery used to power smartphones, laptops, and electric vehicles. These people, who once lived simply off the land with little environmental impact are now brutally exploited through abusive mining practices that not only cause irreversible environmental damage, but also challenge the 'just' transition narrative.
Trapped in a Cobalt Paradox 48"X36" Acrylic on Board
The painting "Trapped in a Cobalt Paradox" by Lesley Friedmann is a vivid and powerful acrylic painting portraying the harsh realities of cobalt mining in the Democratic Republic of the Congo. This visual representation draws directly from the narratives presented in Siddharth Kara's book "Cobalt Red," which exposes the dire humanitarian and environmental costs associated with the extraction of cobalt—a mineral essential for the lithium-ion rechargeable batteries that power our modern technological conveniences.
The artwork itself is a complex tableau that juxtaposes the beauty of the Congolese landscape with the grim circumstances of the miners, many of whom are women and children. The miners are depicted laboring in perilous and toxic conditions for meager compensation, embodying the 'paradox' mentioned in the title—while cobalt is instrumental for 'clean' technology like smartphones and electric vehicles, its procurement is mired in exploitation and environmental degradation. This scene of mining is set against a background that illustrates the transformation of a once simple, nature-aligned existence into a brutal struggle for survival amid the demands of global industry.
The painting captures the essence of a community trapped in a cycle of abuse and toxicity, driven by the global hunger for cobalt. The narrative transitions from a life harmoniously integrated with nature to one of intense suffering and exploitation, all for a mineral that is paradoxically essential for devices that symbolize progress and connection.
"Trapped in a Cobalt Paradox" also serves as Friedmann's protest against the injustices documented in Kara's investigative work. Through her art, she conveys the stark reality of the Congolese miners whose voices and testimonies reveal the true cost of cobalt mining, challenging the narrative that the transition to technology dependent on such minerals is 'just' or equitable.
The original painting was recognized for its profound message and artistic merit, being accepted into the prestigious Sooke Fine Arts Show, where it was exhibited from July 27 to August 5, 2023, in Sooke, British Columbia, Canada. Friedmann's work stands as both a testament to the resilience of the Congolese people and a call to action for the world to acknowledge and address the human rights and environmental catastrophe unfolding in the cobalt mines of the Congo.
The artwork itself is a complex tableau that juxtaposes the beauty of the Congolese landscape with the grim circumstances of the miners, many of whom are women and children. The miners are depicted laboring in perilous and toxic conditions for meager compensation, embodying the 'paradox' mentioned in the title—while cobalt is instrumental for 'clean' technology like smartphones and electric vehicles, its procurement is mired in exploitation and environmental degradation. This scene of mining is set against a background that illustrates the transformation of a once simple, nature-aligned existence into a brutal struggle for survival amid the demands of global industry.
The painting captures the essence of a community trapped in a cycle of abuse and toxicity, driven by the global hunger for cobalt. The narrative transitions from a life harmoniously integrated with nature to one of intense suffering and exploitation, all for a mineral that is paradoxically essential for devices that symbolize progress and connection.
"Trapped in a Cobalt Paradox" also serves as Friedmann's protest against the injustices documented in Kara's investigative work. Through her art, she conveys the stark reality of the Congolese miners whose voices and testimonies reveal the true cost of cobalt mining, challenging the narrative that the transition to technology dependent on such minerals is 'just' or equitable.
The original painting was recognized for its profound message and artistic merit, being accepted into the prestigious Sooke Fine Arts Show, where it was exhibited from July 27 to August 5, 2023, in Sooke, British Columbia, Canada. Friedmann's work stands as both a testament to the resilience of the Congolese people and a call to action for the world to acknowledge and address the human rights and environmental catastrophe unfolding in the cobalt mines of the Congo.
