THE WAR ON DRUGS (2019)

This sculptures that resemble piñatas serve as powerful and thought-provoking metaphors for the ongoing and seemingly endless drug war, particularly in relation to America's struggle with addiction and its impact on both domestic and international contexts.

The sculptures' durability, in contrast to traditional piñatas that are designed to be easily broken, symbolize the persistent and intractable nature of the drug crisis. This metaphor underscores the futility of the "War on Drugs," which has consumed vast resources and resulted in countless lives lost, while the drug problem continues to devastate communities.

The use of coins with the portraits of Richard M. Nixon and the national symbol of Mexico in the sculptures' eyes serves as a commentary on the historical and geopolitical factors that have contributed to the drug trade. Nixon's declaration of the "War on Drugs" in 1970 and the subsequent policies have had far-reaching consequences, affecting both the United States and its neighboring countries. The inclusion of the golden eagle, a symbol of Mexico, highlights the interconnectedness of the drug trade between the two nations.

The reference to drug trafficking and "drug mules" through the imagery of the strapped bag and the association with the "ghetto piñata" provides a stark reminder of the human cost and suffering that are often overlooked in discussions of the drug trade. The act of inviting the audience to hit the piñatas with a police baton serves as a cathartic and symbolic act, allowing participants to confront and engage with the issues surrounding drug addiction and enforcement.

The inclusion of a handcuff chaining the piñata and the reference to violent cartels further emphasizes the cycle of violence and oppression perpetuated by the drug trade. This imagery brings attention to the complex dynamics that contribute to the ongoing crisis, including the role of organized crime and the desperate circumstances that force many to seek refuge in other countries.

By eschewing the blindfold traditionally associated with piñatas and filling the sculptures with coca leaves instead of sweets, Herck challenges the conventional narratives surrounding the "War on Drugs." He encourages the audience to question and rethink the strategies and policies that have been implemented, shedding light on the need for a more holistic and nuanced approach to addressing drug-related issues.

In summary, Tom Herck's piñata sculptures serve as poignant and evocative symbols that invite viewers to confront the multifaceted and deeply rooted problems associated with the drug trade, both within the United States and in the broader international context. The artworks encourage reflection, dialogue, and a reevaluation of current approaches to tackling the drug crisis.

© Tekst by Lara van Oudenaarde
©Pictures by Tom Herck