Torrential rainfall from Hurricane Helene on Friday, September 27 caused the French Broad River in Asheville, North Carolina to crest at 24.67 feet and the Swannanoa tributary at 26.1 feet. The overflowing water destroyed infrastructure across the city, including power lines, cell towers, water distribution systems, and ATMs. Although early fatality reports were low, officials warned of a potential increase in deaths due to the lack of power, water, and normalcy. Downed trees and debris blocked mountain roads, isolating residents in their homes and making travel difficult.
Related Articles
Hurricane Helene spared Winston-Salem but impacted Asheville, where the destruction became evident through urgent texts from residents. The storm caused widespread damage, leaving many without power or water for weeks. Evacuation plans were hindered by closed gas stations and blocked roads. The aftermath of the storm left residents wondering about the future of their communities and the impact on the local art and craft scene.
Residents of Asheville, including artists like Tracey Morgan and Hannah Cole, faced challenges in the wake of the storm. While some spaces, like Morgan’s gallery, suffered minimal damage, others, like Cole’s studio, were devastated by the flooding. The destruction raised questions about the resilience of the community and the future of artistic practices in the region.
Despite the challenges posed by Hurricane Helene, artists like Melissa Weiss were determined to assess the damage and find a way forward in the aftermath of the storm.
The studio lost all its electric kilns, but managed to save two gas kilns, although one was filled with mud and unable to be opened. East Fork, an Asheville-based ceramic dinnerware company co-founded by Henri Matisse’s great-grandson, offered to help move and store the kilns temporarily. Support came in through GoFundMe donations, teaching opportunities, and emergency residencies. Rebuilding the studio will be a significant challenge, as it is essential for making a living, but making a living is necessary to rebuild the studio.
Weiss found solace in the fact that while they lost their studio, others in the area lost their homes, lives, or loved ones. Many artists also lost their studios in the flood. When feeling overwhelmed, breaking down the situation into smaller pieces or taking it one step at a time helped. The River Arts District, known for its studio buildings and artists, was severely affected by the flood, with many buildings reduced to rubble. Despite the devastation, the community came together to help with the cleanup efforts.
The aftermath of the flood turned into a tourist attraction, with people driving through the district to witness the destruction. Volunteers worked tirelessly to clear out the mud and debris from the affected buildings to prevent mold from setting in. Marshall, a town north of Asheville, resembled a war zone after the storm, with recovery efforts focused on cleaning up the debris and distributing supplies.
Cleanup efforts were in full swing, with volunteers wearing hazmat suits and respirators to pressure wash buildings and clear out storefronts. The focus was on keeping the dust down to prevent exposure to toxins in the debris. Artists at the old Marshall High School, now home to artist studios, worked on cleaning up the space, despite the damage to the building caused by the flood. Im Veranstaltungsraum hingen Bündel von stärke-weißen Papierlaternen, unberührt von den steigenden Wassern, an der hohen Decke und schwankten leicht in der Brise von den offenen Fenstern.
Lombardo drückte Dankbarkeit für die Hilfe von Freiwilligen und der US-Armee aus, aber gab zu, dass die ganze Aufmerksamkeit überwältigend war. „Ich bin ein introvertierter Maler“, sagte er, seine Stimme war heiser vom ständigen Schreien über den Hochdruckreinigern für Tage. „Jetzt manage ich 50 Soldaten und 40 Freiwillige. Ich weiß nicht, wie das geht.“ Er lobte Freunde und andere Künstler aus der Gegend, die ihm geholfen haben, diese enormen Herausforderungen zu bewältigen, eine Erinnerung daran, dass die Mobilisierung von Unterstützung und Gemeinschaftshingabe ein weiterer Effekt von Katastrophen wie Helene ist, der allzu oft übersehen wird.
„Katastrophen, zusammen mit anderen Momenten sozialer Umwälzungen“, schrieb Rebecca Solnit in Ein Paradies im Chaos (2009), „sind Momente, in denen die Fesseln konventioneller Überzeugungen und Rollen abfallen und die Möglichkeiten sich öffnen.“ In den letzten Jahren scheint es, dass die Rollen von Künstlern ständig im Wandel sind und sich über ihre traditionellen Grenzen hinaus ausdehnen, aufgrund wirtschaftlicher Unsicherheit und der Abwertung kreativer Arbeit, eine Vorstellung, mit der soziale Praktiken und andere Interventionen experimentiert haben, mit gemischten Ergebnissen. Hier, in den Nachwirkungen des Sturms, übernahmen Künstler unbeabsichtigt Rollen als Krisenmanager, Autoritätspersonen, Organisatoren gegenseitiger Hilfe, Stadtsprecher und Agenten der Erholung. Es war entmutigend, aber auch inspirierend, eine Gemeinschaft zu erleben, die Künstler vorübergehend als Führer schätzte. Der Entschluss, der den Wiederaufbau vorantrieb, entfachte Kreativität, Freude, Einfallsreichtum und einen Gemeinschaftssinn. Vorübergehend verzichteten wir auf Tourismus, Großunternehmen und andere kapitalistische Antriebe, die das regionale Wachstum seit Jahrzehnten vorangetrieben haben.