‘DRAW WHATEVER IS CLOSE TO YOUR HEART’
By
The Pueblo Women’s Group

In February of 2004, the Pueblo Women’s Group, consisting of a dozen or so Cambodian women completed these embroidery pictures as a group project.  They were asked to “draw whatever feels close to your heart.”  Pacific Asian Counseling Services proudly shares this powerful and compelling exhibit that gives the viewer a glimpse into the lives of these courageous women.

All of the women, who range in age from mid-50’s to early 60’s, live in the Pueblo Del Rio Public Housing Project in South Central Los Angeles.  All but one was a survivor of the Khmer Rouge genocide of 1975-79.  During that horrific time, over 1.7 million people were killed, mostly Cambodians, but also Vietnamese, Chinese, and Muslim minorities.

The Pueblo Women’s Group meets weekly to address mental health issues such as depression, anxiety and PTSD.   This is done by using a range of activities such as field trips, art therapy, psycho-education and group discussions.  Through the process, the members increase their self-esteem, preserve ethnic identity, acclimatize to mainstream American culture and slowly heal.

Following are some explanatory comments shared by the members on their work.  The titles were offered by the members.

“Life Under Communism,” though rather pleasant looking at first, is the harsh memory of forced labor under the Khmer Rouge.  Everyone, including young children, such as the artist’s young boy depicted in the picture, had to work from dawn to 11 P.M. on one bowl of rice porridge a day.

“Life of a Refuge” tells the story of the artist’s many months of escape on foot through rough terrain, while 6 months pregnant.  She went from Cambodia to a Thai refuge camp before finally being relocated in the U.S.

“When Father Wasn’t There” is about the artist’s frightening experience of being trapped inside her burning house as a young child, along with her sisters.  Their mother was away seeking consolation after their father left home.

“Home” is a nostalgic image of the artist’s house before everyone living there was forced to scatter because of the war.  The artist has never seen any of her family members since.

“Fishing” is a pleasant memory by the only member of the group who was not in Cambodia during the genocide period.  She used to fish to help feed her family, which was “poor but happy.”

Return to Top