“CrossingBorders: (We Are All Immigrants)” is an exhibition of works by members of Global Art Project, an international multimedia collaborative collective founded and directed by Carl Heyward, USA, with 90 members from 19 different countries. This project has been exhibited at The Westbeth Gallery in New York City, and at Nine Eighteen Nine Studio Gallery in Charlotte North Carolina.
A powerful exploration of migration, identity, and the universal experiences of displacement and belonging, the project embodies Carl Heyward’s dedication to global community. Through the works of diverse artists, viewers are invited to confront the shared human journey of movement and adaptation, transcending borders and cultural divisions.
At the heart of We Are All Immigrants lies the assertion that migration is not merely a contemporary phenomenon but a defining element of human history. The exhibition features a wide range of media—painting, sculpture, installation, and mixed media—that reflect the complexity of immigrant experiences. Each piece is a narrative thread, weaving together personal stories and collective histories to form a tapestry of resilience and transformation.
Heyward’s curation emphasizes the diversity within the immigrant narrative. By selecting artists from varied backgrounds, the exhibition underscores the intersectionality of migration: how race, gender, culture, and geography shape and inform one’s journey. This diversity also challenges viewers to recognize the nuanced ways in which immigration affects individuals and societies alike.
The title—We Are All Immigrants—makes a bold statement about the universality of migration. Whether literal or metaphorical, movement is an intrinsic part of life. Heyward’s curatorial vision draws attention to the fact that, at some point, all of us or our ancestors have migrated, either through forced migration of the trans-Atlantic slave trade, the fleeing of pogroms in Europe, or seeking asylum from persecution anywhere it appears; adapting to new environments and reshaping identities has been a feature of migration throughout history.
The exhibition also engages with the emotional dimensions of immigration. Themes of longing, loss, and hope permeate the works, reflecting the dual nature of migration as both a search for opportunity and a response to crisis. In doing so, the show fosters empathy, encouraging audiences to see themselves in the narratives of others.
A standout aspect of Heyward’s curatorial approach is his use of art as a bridge between disparate communities. Its layout and programming show the exhibition’s emphasis on collaboration and dialogue. Interactive installations and public engagement initiatives invite viewers to share their migration stories, fostering a sense of connection and mutual understanding.
By creating a space where stories of displacement are not only heard but celebrated, Heyward highlights the transformative power of art. The exhibition becomes more than a showcase; it is a platform for education, advocacy, and healing.
We Are All Immigrants is a poignant reminder of our shared humanity. Under Carl Heyward’s thoughtful curation, the exhibition transcends its role as an artistic endeavor to become a call to action—urging viewers to embrace empathy and celebrate the diversity that defines our global community. By shedding light on the struggles and triumphs of migration, this exhibition affirms the enduring spirit of those who journey in search of belonging, reminding us that in our movement, we are united.
HAF: Carl, how have the current immigration climate and the new administration’s mass deportation plans impacted your exhibition, and what do you hope this show will accomplish?
Carl: It is more likely than not that further erosion and re-implementation of Trump-era mandates, laws, practices, and policies will arise as immigration was and remains one of the hot-button topics that propelled him into office for this second term. He has a mandate not just around immigration but for a plethora of issues that impact not only our day-to-day interactions and expectations but also the very spirit and nature of America and what it means to be an American.
HAF: What was the catalyst for curating this show?
Carl: Several incentives contributed to the fruition and evolution of this exhibition, broadly titled CrossingBorders, from its inception in 2019 at the invitation of former GAP member, artist, and gallerist Ron Weijers, the Netherlands, who coined the name and introduced the concept to be folded into a GAP project.
HAF: Could you talk a little about your installation “Slave Ships “? What printing process did you use for the gold and black reproductions?
Carl: The “Slave Ships,” I think it took 70 years for me to come to it, to address it, to incorporate it into my practice as an artist. It is both broad and personal in its implications, horrific, shameful, and permeates my perception of human nature in probably a limiting and harmful way as well as my self-worth and sense of my value as a human being and/or American.
The decision to print the classic copyrighted cutaway of a slave vessel replete with crouching stacked human beings stored like lumber in efficient rows with bare room to stretch their tortured bodies on gold, the symbol of value supporting bodies without value except for their labor seemed appropriate and ironic to me. My design and vision were to be realized as the printers created thousands of square feet of the classic slave ship image using a digital UV printer on a Mylar substrate.
Carol Heft is a New York City-based artist and educator. She is a graduate of the Rhode Island School of Design and her work has been exhibited internationally. She teaches Drawing, Painting, and Art History at several colleges in New York and Pennsylvania and is represented by the Blue Mountain Gallery in New York City.
