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    Art For A Cause

    Unique art project highlights Houston's human trafficking problem with grains of red sand

    Elizabeth Rhodes
    Mar 19, 2015 | 12:01 pm

    Texas-born artist Molly Gochman is making moves for social change through a community art project that focuses on a horrendous problem happening right in our own backyard. Houston is one of the nation's largest hubs for human trafficking, and one out of every four people trafficked in the United States will pass through the city.

    The 36-year-old artist, now based in New York City, hopes to raise awareness of this type of modern-day slavery — which she has observed first-hand in countries around the world — through her activist artwork piece called the Red Sand Project. The project invites participants to fill cracks in the sidewalk with red sand, meant to remind people to pay attention to the oft overlooked and marginalized population of human trafficking victims instead of simply ignoring a group who have fallen through the metaphoric cracks.

    "Someone should be puzzled when they see a person bent over doing something odd like putting red sand into a crack. I'm inviting curiosity which leads to people asking me what I am doing."

    Participants are encouraged to share photos of their 'transformations' via social media and tag them with #RedSandProject.

    Earlier this month Gochman staged a number of events encouraging Houstonians to participate, including locations in the Museum District and at the Aurora Picture Show, and create their own red sand-filled cracks for all to see.

    "The sidewalk installations give me an opportunity to engage with people on the street," Gochman explained via email. "It allows me to bring the subject of human trafficking into public discussion by presenting an opportunity to question. Houstonians generally don't spend a lot of time on sidewalks. Someone should be puzzled when they see a person bent over doing something odd like putting red sand into a crack. I'm inviting curiosity which leads to people asking me what I am doing.

    "Human trafficking isn’t a term they expect to hear when I respond. When I explain that addressing human trafficking requires addressing vulnerabilities that lead to trafficking and that my odd behavior is an invitation for people to be mindful of vulnerable populations around us, they usually want to learn more."

    In addition to individual contributions, Gochman created a large-scale installation on a grassy property at Caroline and Dennis Street where a large crevice, resembling a crack in the ground, was filled with red sand. In several weeks, the sand-filled gash will be covered with dirt and grass will be pinned on top so that it merges with the existing turf. As the grass grafts with the ground, a scar-shaped mount will appear and serve as a living installation.

    Gochman does not profit from her 'social good' art piece, hoping instead that her work will inspire people to become activists on their own.

    "Even if people don't know what the earthwork or sidewalk installations signify, these artistic interventions will stimulate contemplation of a previously ignored surface," she said. "Art offers an opportunity to soften and reflect, which can result in people becoming more empathetic. Empathy is essential for pushing progressive cultural change. Cultural change is gradual and doesn’t happen overnight. Red Sand Project is one of many voices slowly nudging this change along."

    The large-scale 'earthwork' installation of the Red Sand Project is currently on view at Caroline and Dennis Street.

    Red Sand Project earthwork 1
    Courtesy of Molly Gochman
    The large-scale 'earthwork' installation of the Red Sand Project is currently on view at Caroline and Dennis Street.
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    Houston museum sounds off after vandals deface artist's painting

    Jef Rouner
    Jun 9, 2026 | 4:00 pm
    Clarence Heyward painting with damage at HMAAC
    Photo courtesy of HMAAC
    Clarence Heyward's Man in the Garden was intentionally damaged

    The Houston Museum of African American Culture (HMAAC) announced on Monday, June 8, that a museum visitor intentionally damaged one of its paintings on May 21. The damage included a puncture and large cut or scrape in a painting by North Carolina artist Clarence Heyward called Man in the Garden, part of the EDEN exhibition in the downstairs gallery.

    HMAAC CEO Emeritus and exhibition curator John Guess Jr. held a press conference at the museum on Tuesday, June 9, and said the vandalism was representative of continued bigoted attitudes in Houston.

    "If we're honest about it, this is a very racist town," he said. "We're the fourth-most economically segregated city in the country. Houston has the highest poverty rate of any of the 25 metropolitan cities. And no one talks about that.This town itself has some serious issues. We're demographically diverse, but we remain segregated."

    According to Guess, two young white men entered the museum carrying a large bag. They visited an exhibition of Kandy G. Lopez's work upstairs, where they asked a staff member to take a picture of them in front of a painting. When the staff member obliged, the two men made an obscene gesture at the work.

    Later, they briefly went downstair to the Heyward exhibit before quickly leaving. Afterwards, staff discovered the defacement. Unfortunately, the museum's cameras had malfunctioned the day before the attack, and a work order to repair them was placed hours before the suspects arrived.

    HMAAC says they have filed a report with HPD, but have not yet heard of any movement in the case. This incident is the first time that HMAAC has had a work defaced, though there have been previous incidences of threats against the museum in its logbook. A man also showed up at the museum in the past with a Bible claiming that God had told him to take vengeance on the museum, though he was removed before he caused any damage.

    After initially taking the painting down to start reconstruction, the museum said they returned it on the wall to illustrate the damage. Guess compared leaving the marred painting up to the mother of Emmett Till's mother insisting on an open casket funeral after her son was abducted and lynched. The exhibition ended Saturday.

    Heyward's painting highlights one of his signature techniques of portraying Black people, specifically his family members, with green skin. In his artist statement, the Brooklyn-born Heyward describes the techniques as linking skin tone to the cinematic process of green screening, where green backgrounds are used to project computer-generated new realities. "This provides an alternative entry into the conversation of existing while Black in America," he said in the statement.

    HMAAC vowed to continue displaying works by Black artists despite the vandalism.

    "Our immediate priority is supporting the artist and ensuring the proper restoration of the work,'" said CEO Davinia Reed in a statement. "At the same time, we remain committed to presenting exhibitions that encourage learning, reflection, and dialogue. Acts intended to intimidate, censor, or damage cultural expression will not deter us from our mission."


    Clarence Heyward painting with damage at HMAAC

    Photo courtesy of HMAAC

    Clarence Heyward's Man in the Garden was intentionally damaged

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