Swedish artist and writer Fia Backström has been immersing herself in the Appalachian community of Buffalo Creek, West Virginia, since 2017. Her annual visits, sometimes monthly, have deepened her connection to the region, known for its warm and welcoming residents and a rich labor history, including significant events like the Blair Mountain uprising. However, Backström's work also sheds light on the darker aspects of the area's history, particularly its mining past and the ecological disasters that ensued.
One pivotal event she highlights is the catastrophic coal slurry dam failure on February 26, 1972, which unleashed a massive wave of toxic sludge, tragically claiming 125 lives and displacing thousands. The mining company attributed this disaster to an "act of God," leaving the land contaminated for generations. Survivors received minimal settlements and participated in studies on collective trauma.
Through her research, Backström has discovered that West Virginia is more than just a stereotype of despair; it is a complex tapestry of environmental challenges, economic hardship, and resilience. Her latest exhibition, The Great Society, at the Queens Museum until May 17, presents a nuanced perspective on working-class solidarity, drawing from her extensive fieldwork.
While primarily known for her photography, Backström's current exhibition incorporates diverse formats, including embroidery and docupoetry--a method of storytelling that intertwines factual narratives with artistic expression. One notable piece, Witness [According to Estimates], presents stark statistics about environmental hazards alongside poignant reflections on loss.
In a contrasting display, Days Without Lost Time Accident features images of safety signs from mining sites, printed on powder-coated steel. These pieces invert colors to challenge perceptions and highlight the often-overlooked realities of labor in this industry.
Another striking installation, Sacrifice Zone, spans 63 feet and showcases over 80 images captured by Backström, all reflecting the region's natural beauty and the impact of industrialization. This absence of human figures throughout her work serves as a commentary on the media's portrayal of Appalachian residents during the war on poverty.
Backström's video Toxicology Report combines aerial footage of mining sites with docupoetic narratives derived from interviews with locals, creating a compelling and emotional experience. The exhibition culminates in more intimate panels of docupoetry that weave together testimonies from West Virginians, emphasizing the importance of authentic voices in storytelling.
Backström's collaborative project, the Buffalo Creek Therapy Quilt 2025, exemplifies her approach to merging art and community healing. Crafted with local residents, this quilt draws inspiration from a historical piece made after the 1972 disaster, symbolizing resilience and collective memory. It serves as a powerful reminder of the past while fostering hope for the future.