Sculpting Survival: Leilah Babirye’s Escape from Death Inspires Monumental Art of Unity

In the year 2022, a pair of impressive wooden sculptures graced the banks of Brooklyn’s river. These statues, featuring multi-headed figures, were part of a series named Agali Awamu, meaning “Togetherness” in Luganda. They stood majestically, offering a stark contrast to the modern, reflective facades of nearby buildings. Crafted by hand, these human-like sculptures, with their singing or whistling mouths and half-closed eyes, suggested a serene introspection. One sculpture depicted two figures merged at the hip, while the other featured swirling hair and faces positioned on its back and stomach, creating an image of melodic harmony. These sculptures radiated tranquility and a protective aura toward each other and the passersby.

Viewed from a distance, these creations by Leilah Babirye, a Ugandan artist based in New York, appeared noble and dignified, adorned with shimmering belts and jewelry. However, upon closer inspection, it became clear that their decorations were crafted from repurposed materials like rusty chains, old wires, used bolts, and parts of bicycles — items once thrown away and forgotten, now transformed into symbols of strength and guardianship through the artist’s vision.

Babirye is renowned for her approach to using recycled materials in her artwork, a poignant statement on the perceptions and treatment of the LGBTQ+ community in her native Uganda, where homosexuality remains punishable by death. The artist fled to the United States for asylum following Uganda’s enactment of the anti-homosexuality bill in 2013 and her subsequent outing by the homophobic local media. Initially landing a residency on Fire Island, New York, Babirye has continued to use her art to challenge negative stereotypes and derogatory attitudes.

Her large-scale sculptures, which range from individual heads to expansive ceramic communities, confront the silencing of marginalized groups by converting discarded objects into sites of potential and expression. From repurposing pens and bottle caps into a crown to using an old bike chain to evoke flowing hair, Babirye’s work reclaims the dismissed and overlooked.

“When you look at trash, it’s something that everybody throws out,” she explained. “It’s seen as worthless by those who discard it at that moment […] The only way to restore our value – the ‘trash’ – is by showing our importance, our voice, our professionalism, and our talent.”

Babirye’s sculptures come to mind especially in light of recent legal decisions like the UK supreme court’s ruling that trans women are not recognized as women, nor trans men as men, under the 2010 Equality Act. This ruling not only diverts attention from other pressing legal matters but also exacerbates cultural conflicts and heightens the risk of violence towards an already vulnerable community. The decision is expected to have significant negative impacts on the mental and emotional well-being of trans and non-binary individuals and could compel public organizations to revise their inclusion policies regarding single-sex spaces, potentially endangering trans individuals. However, the artist Victoria Cantons pointed out that this ruling could further control women’s roles, pushing them towards more rigid binary structures, which could be detrimental to women’s rights broadly. Notably, no trans groups were consulted during the panel discussion leading to this decision.

Despite the increasing governmental hostility towards trans rights, it’s crucial to remember that trans communities have always existed and will continue to do so. It is more important than ever to support, promote, and celebrate these communities, echoing the spirit of recent peaceful and loving protests.

Art remains a powerful medium to amplify the voices of those often silenced in society, helping us to recognize the beauty, possibilities, and inherent humanity in everyone. As the artist Martha Rosler, who works similarly to Babirye in collage, once shared, “This habit of division, of breaking things apart, prevents us from being whole people, and from building a whole society. On this spinning blue marble we all share, there is no ‘here’ or ‘there’. As a species, our destinies are increasingly intertwined: we are one. Cooperation isn’t just wise; it’s essential. And recognizing that isn’t just important; it’s crucial.” One cannot look at Babirye’s Togetherness sculptures and not feel a deep yearning for unity over division.