In Zambia's Copperbelt, vast 'black mountains' of mining waste cast long, dark shadows over the landscape—silent witnesses to a century of extraction that transformed the environment into a hazardous wasteland. These colossal heaps, riddled with toxic heavy metals like cadmium, arsenic, and mercury, not only mar the scenery but also threaten the health of local communities, contaminating water supplies and soil. For instance, the recent catastrophic waste spills from Chinese-operated mines led to the shutdown of essential water sources in towns like Kitwe, forcing residents into a relentless struggle against pollution’s deadly grip. The scars are more than visible; they are persistent reminders that behind the wealth of copper lies an ecological and human toll that endures, often overlooked, but impossible to ignore.
Despite the risks, young men in the Copperbelt venture daily into treacherous tunnels and rugged slag heaps—many working illegally and under hazardous conditions—driven by desperation and limited opportunities. With unemployment soaring above 45%, these youths are often seen descending into narrow, unstable tunnels equipped only with makeshift safety gear, risking catastrophic landslides, toxic poisoning, or even death. Take, for example, the powerful portrait Mwaba created of a miner about to step into a dark, unstable shaft, symbolizing the courage and peril faced every day. These stories reveal a gritty reality: survival often depends on taking dangerous risks, and for many, this hazardous grind is the only means to support their families—an unsettling cycle fueled by poverty but sustained by resilience.
Mwaba’s artwork transforms raw personal and societal struggles into compelling visual narratives that command attention. Utilizing torn newspaper clippings layered with bright, arresting colors, he crafts portraits that tell stories of resilience amid environmental degradation. His technique of perforating the stories with a soldering gun—creating holes that obscure the narrative yet emphasize their importance—serves as a powerful metaphor for fractured histories often hidden or ignored. For instance, his depiction of a miner cautiously lowering himself into a perilous tunnel, painted with fiery reds and intense yellows, captures both danger and unwavering courage. These images do more than depict—they force viewers to confront the uncomfortable truth: the toxic legacy of mining is not just an environmental problem but a profound human crisis. Mwaba’s art becomes a rallying cry, inspiring awareness and urging collective responsibility, reminding us that stories of suffering and hope are intertwined and demand urgent attention.
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