Analyze

In the interview with Emily Roehl, artist Steve Rowell describes his style in contrast to the more "didactic" approach of land use and documentary photography. Instead, he has come to combine his visual works with sound installations that are meant to unsettle. These sounds are often generated based on air pollution data that he has collected (Roehl and Rowell, 2022, p. 137). Rowell further describes how changes in the development of aerial video and photography technology have shaped his work. In the past, Rowell would rent expensive camera equipment and attach them to a helicopter to generate fly-over images (Roehl and Rowell, 2022, p. 140). Though commercial drones have become available, Rowell says that he soon got dissatisfied with the "slick" images they produce. When using drones, Rowell relies on an angle that faces down or is close-up, creating feelings of uncanniness. These unusual perspectives are combined with split imagery and mirroring to achieve a specific effect: “There’s a value in giving the viewer/listener a chance to distrust the work in the same way there’s value in giving them room to question the work. The landscapes I feature are all altered. What landscape isn’t now? That’s the point.” (Roehl and Rowell, 2022, p. 140).

Steve Rowell is an educator and research artist, currently working on “long-term projects that use image, sound, and archival practice to interrogate the relationship between humans, industry, and the environment” (Roehl and Rowell, 2022, p. 136). Rowell has worked extensively with the Center for Land Use Interpretation (CLUI) in Los Angeles, including a comissioned project for which he photographed every petrochemical plant in Texas (ibid, p. 137). In subsequent projects, he has focused on tracing pipelines going from the Alberta Tar Sands to petrochemical communities in Long Beach, California and Port Arthur, Texas. Another recent project focuses on the industrial ecology of Houston's Buffalo Bayou. 

Ernesto Yerena Montejano, currently a Boyle Heights resident and originally from Imperial County, and his team of fellow artists Arlene Mejorado and Ayerim Leon — complete with friends and families" painted the mura.

It belongs to the Imperial Valley, but was one of 14 California commissions art projects as part of a collaboration between the Governor's Office, CA Dept of Public Health and The Center at Sierra Health Foundation. The commissioning program aimed to raise awareness about Covid19 within the State's hardest hit areas. Each an governmental agency stakeholder in the project along with curators who selected the artist for this mural.

The building's owner, which appears to be a someone poised to sell it soon is also a stakeholder and most importantly, local resident are active stakeholders as they began adding names of family members who died because of Covid on the western corner of the mural unprompted and without explicit instruction or permission.

The mural is located at 739 N. Imperial Avenue in El Centro. It is precariously positioned because although the current owner of the building has promised to protect it for the next 6 months (per Jun 10, 2021), the next owner of the building may cover over the mural. The mural was completed over 1 week by 5+ painters under the direction of  the artist Ernesto Yerena Montejano on May 30, 2021.

It brings together community members to commorate the toll Covid 19 has taken on the community. It provides a public service message to continue masking and thereby taking care of the community. And it adds an element of beauty and artfulness to what was a run-down building exterior

The mural covers the entire side of one building. The background is painted in purples, blue and yellow. One side of the wall is painted "Protege A Nuestra Comunidad!"|"Protect our Community!"

The centerpiece of the mural both figuratively and literally is a beautiful woman (anywhere beteween 20-40yo) in traditional dress with two long strands of brown braided hair holding a bouquet of colorful flowers tied together with a yellow sash. She is wear a face mask to back up the Covid-19 theme.

The flowers she holds is both a reference to the business--"Cynthia's Flower Connection" which has since moved as well as a tribute to the community and their deceased members who died of Covid. One indication is that community members began adding names to the side of the mural as a tribute to lost family members.

This mural is a public-works project commissioned by the State and agencies. It was created by an artist who has ties to the area. It is also meant to be a public health message, another way to reach local residents who have been "locked in"

“Right away we saw how powerful the mural was in bringing people together, especially after this year where we've been locked in and it's been hard to communicate with our community,” he said. Per David Varela, “People are slowly making their way to the mural and are able to mourn a little bit too,” Varela said. “It's really healthy to mourn and I think people are getting a chance to do that through the mural. I knew we'd not only get a beautiful mural, but a powerful message.”

Industrial meatpacking plants in countries all over the world (USA, Germany, Australia) have all become hotspots of COVID-19 (Link). 

The close proximity in which workers working in such plants, the gruelling hours, the lack of access to healthcare among workers (many of whom are immigrants, refugees and POCs), are all reasons why such plants have emerged as hotspots. This Propublica article talks about the amont of preparation that such an industry has for pandemic flu outbreaks that could wipe out animals, but failed to do the same for their workers (Link). Moreover, our desire of meat (bad for the environment and unsustainable), has resulted in these companies having a tremendous amount of clout which allowed some to go over the heads of local officials as the ProPublica article reports. 

A well publicised Harvard study reported an association between long-term exposure to fine particulate matter (PM2.5) and COVID-19 deaths (Link). Another recent study that consider multiple pollutants found a signficiant association between nitrogen dioxide (NO2), a traffic-related pollutant and COVID-19 deaths, and not PM2.5 (Link).

Air pollution and COVID-19 have intersected in other ways. The decreases in air pollution due to the lockdown were seen as one of the few silver linings of the crisis (Link). Although early optimism has been dashed as air pollution levels have jumped right back up in China (Link) and other places when the lockdown was lifted. Some may say that under the cover of COVID-19, the Trump administration also rolled back several environmental regulations (Link), and it is unclear yet what the long-term effects of such rollbacks will be.

Air pollution is also a carrier of COVID-19 (Link), and researchers have been investigating the transmission of the virus by simulating mundane activities such as speaking in the elevator and even flushing a toilet.

Some of the other ways however, in which air pollution and COVID-19 will intersect are at infrastructure such as warehouses, which we will see increase as more and more people move to shopping online. Already in the recent pasts of the building of massive warehouses have been challenged for environmental justice reasons, as they tend to be built in poor, minority communities and result in heavy freight traffic, which in turn burdens such communities with increased pollution (Link1, Link2). Amazon employees themselves have documented the nature of siting of warehouses (Link), and it is likely to become an even more fraught site of contention as we move forward.