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Over the past month, Moises Saman has been documenting the catastrophic effects of Storm Daniel in Libya. On September 11, , torrential rains caused critical flooding in the towns of Shahhat, Al-Bayda, and Marj. In Derna, the collapse of two dams caused floodwater to tear through the city of , people, washing away buildings, cars, and residents, leaving the town in a state of devastation. On assignment for the Wall Street Journal and UNFPA , Saman documented the scenes after the storm, as well as the rescue crews and support teams in the devastating aftermath, and the homelessness crisis that hit the population as tens of thousands were displaced. For the next week, I witnessed how the search for bodies continued and moved out to the sea rather than the rubble. The gruesome work of recovering these bodies was done mostly by Libyan divers, braving choppy waters to reach inaccessible areas of the coast where bodies were being found inside the crevices of rocks. At the same time, thousands of displaced families sought refuge in nearby cities, like Al Bayda, staying in schools and other temporary shelters. Shopping Cart. Magnum Digest. A Libyan volunteer worker searching for bodies walks through a street covered in mud and debris in one of the hardest-hit neighborhoods of Derna. Libya, September 21, A flower pot remains amidst the mud and debris covering a hospital room. Al Bayyada, Libya, September 19, Libya, September 20, Iman and her 7-year-old son Asil, from Derna, sit in a classroom at the Asmaa Bint Abi Talib school in Al Bayda, which has transformed into a temporary shelter for families displaced by the floods Al Bayda, Libya, September A young boy sits under a mosquito net in a room he shares with six other members of his family. The boy, a Libyan-born child of African migrants living in eastern Libya, and his family, lost most o Shahat, Libya, September 20, A man trying to find his home surveys the destruction caused by the floods in one of the hardest-hit neighborhoods of the city. Derna, Libya, September 21, A member of a Hungarian search and rescue team sits with his trained dogs amid the rubble of buildings destroyed by the floods in Derna. Residents of Derna in one of the hardest-hit neighborhoods affected by the devastating floods. Libyan Boy Scouts organized games for children and food distribution for families affected by the floods in Derna. A young man sits next to the entrance to his home destroyed by the devastating floods in Derna, Libya. September 22, Men carry belongings that they salvaged from their home in an area of Derna. Libya, September 22, Body bags containing unidentified bodies found at sea near Derna are placed in a mass grave for victims of the flood in the town of Martuba. Libya, September 24, Adel Al Tishani, a local resident of Derna, surveys the damage in an area of Derna where his extended Al Tishani clan used to live. Hundreds of Al Tishani family members died in the devastating flo September 21, Medical equipment covered in mud and damaged by flooding outside a hospital in Al Bayyada, Libya. September Libyan scuba divers collect the body of a victim of the floods in Derna that washed into a rocky area near Kabta Beach, about 20 km east of Derna. Alfataeh, Libya, September 22, A thick layer of mud covers the floor of a room inside a home destroyed by the floods in Derna. A survivor holds a clock that stopped at the time the flood arrived in Derna. A mass grave for unidentified victims of the floods in Derna in the town of Martuba, east of Derna. September 23, Cleaning crews remove a heavy layer of dry mud from the streets of Gandoula, a town located km west of Derna that was affected by the devasting floods that killed thousands of people across eas Displaced people from Derna receiving aid at a warehouse in Al Bayda. Libya, September 25, An African migrant living in eastern Libya, who lost most of their possessions during the floods that devastated Derna and towns in the region, including Shahat. The collapsed dam in Derna. Wadi Derna, Libya, September 26, License full story in Magnum PRO i. Commission a Magnum photographer. Next Story. Explore More. News View From Lebanon. News U. Focus: Abortion in Florida. Focus: Veterans in North Carolina. Focus: Immigration in Arizona. Stay in touch. Enter your email address:. Thank you. Your preferences have been saved. Fine Print Gallery Learn about online and offline exhibitions, photography fairs, gallery events, plus fine print news and activities, on a monthly basis. Magnum Learn Get fortnightly tips and advice articles, find out about the latest workshops, free online events and on-demand courses.

Moises Saman Documents the Effects of Devastating Floods in Libya

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Though not on the canvases, but on the walls of his own studio. He also sculptures Cossack crosses from fire clay, besides pots and lambs. He says that every Cossack-Kharakternyk in Zaporizhska Sich was a potter. You have achieved a lot regardless of your young age 25 y. Where do you get your energies? Cossacks used to say that energies come from outer space. When I embody one of my ideas, many more will come on its place. And all of them are so big, that I get scared at first, but then… the eyes are afraid but the hands do the job. I have read about pottery in particular… People used to believe that every Cossack-Kharakternyk was a potter. That those were magic people, they knew some special secrets and were devout. People used to bury pots. For example, if earthenware was broken, the crocks were gathered and interred. Because everything in the world, absolutely everything, that goes clockwise, has its own energies. There are many legends that say that God created man from clay… If it is not a secret, can you tell us in general the technology of making the Cossack crosses? Do you prepare yourself in some way before sculpturing them? I certainly say the prayer before sculpturing a cross. You have to make testers all the time. Now, I sculpture the forth cross almost with the closed eyes. There were several mistakes in sculpturing the first cross. Of course, I have corrected them and will not do them again. I am grateful to Sergiy Ivanovich Spasyonov, who is a very good potter and a technologist — I often ask him for some help. He usually makes jokes on that, but he does help me a lot. I have learnt a lot of things. For example, how to close up a crack. And many-many other secrets, but I am not going to give it to you that straight laughs! I sculpture crosses from chamotte. Chamotte is a special kind of clay that contains small fractions of already burnt off clay. There are three kinds of it: small fraction, middle and large. I personally work with the small fraction, it is possible to make pottery of it. I buy it in Slovyansk, Donetsk region. That is, I order it there, and they deliver it to me. I bake the crosses in the glazing oven of degree Celsius, because chamotte needs high temperature. I bake the crosses by pieces, because I have a small glazing oven — 70 centimeters only. It means that a cross consists of several parts that are attached by special locks. Then it becomes an indivisible item and is glued together by special glue. Then it is overlaid with white cement, I overly it with the special waterproof covering — and the cross can stay outside for at least a hundred years. That means neither rain, nor sun…. But, actually, if it just stands there, and becomes overgrown with specials funguses and mosses, it will stay for a very long time. I have always wondered, what is potter thinking about while shaping pots? Is he thinking how to complete his work as soon as possible, or how to make the best of it? Or what other thoughts can spring up? Different thoughts come to your mind. People, potters in particular, used to be very pious. When I make pottery, I watch closely the foot of the earthenware, the ornament, so, I think about the pot. Traditional Ukrainian style. Everything starts with clay, a pot, a crock, a large pot, and only after that one can start making candlesticks etc. If you cannot make fine plastic pieces — pots, small rams, tin whistles, there is no sense to move forward. The most interesting thing is that the idea appears in you mind when you are, for example, driving a car and get into the traffic jam. But at first the idea is one, and when you draw it, it becomes different, and when you sculpture it, it becomes the whole lot different. There are different kinds of ovens. There are furnaces, and black fumy pots are baked there. Those furnaces are made in the ground, and hornbeam wood is required for fire in it. There are also brick kilns, and firewood is needed for them. There are electric ovens, with an electric spiral. There are gas ovens. But the best one is brick, because firewood is used there. The fire makes miracles to the ceramics! When those tongues of flame run through the pot, they paint unbelievable pictures on it. Some cracked plates are sold as decorations for the restaurants. Of course, they are much cheaper. I never sell, or barter, or present any cracked or broken items, because it is said that it is unhealthy to eat from cracked ceramics. But sometimes a restaurant designer comes and says that he needs a special ceramic item. I say that I have a plate that costs hryvnia, and it is perfect. And I have a plate that costs hryvnia, but there is a crack on it. He for sure will buy the cheaper one, put it in some corner and never will anybody get to know that it is cracked. And it is advantageous for him and for me. Tell me about your unusual studio. It is so cozily and nice here! A rabbit is jumping on the floor, a parrot is chatting… As far as I understand, when you first came here the place was empty. The place was perfectly empty. Old windows, no light, wry walls, and benches were not painted. Almost everything that is here — elephants, all the plates, books, light bulbs, flowers, Shponya the rabbit, the bird — came to me during the 7 years that I work here. The elephants bring happiness. These elephants are from different countries, different places and presented by different people. Here are more that elephants. I stopped counting after the th, because I have some more at home and in my car. There are different periods in life. Sometimes life is bitter. You come to the studio, do your work, and then… an elephant falls down and shatters. It means that it fulfilled its mission, it brought a small piece of happiness, protected you from something bad and than… self-destructed. You work with special kids and have to meet their special needs. It must be difficult. What do you do with them? Usually I work with them as a psychologist, as a ceramist, and as a practical psychologist. For example, if such a child comes to the Centre and somebody has insulted him or her in the trolleybus, so the kid is under stress, I give the child a piece of clay or paper and tell him or her to make anything of it to express his or her emotions. The kid makes something really horrible! I could have not imagined that. In this way I cure the stress and aggression in the subconsciousness of a child. There are many methods to do this, with the clay in particular. Yes, it is difficult. But still…. Can you say that you live in your studio? Laughs Almost, almost yes. It is very comfortable here, we even have shower, and that is the most important thing. Supermarket is situated below, so one can buy some food there. But when I feel totally bad and I know that I am going to work the whole night, I turn on music — I have different kinds of it, and I like the itinerant players on the kobza, take a pot, cut some potatoes, the leaf lard — and into oven. It is ready in a half an hour, and I work for the whole night… coffee and go…. Well, as for me, to work creatively means to relax. Rest is when you work. Of course, if you are tired, you have to sleep. So if we have dinner it means that we have dinner. Some of my friends think that an artist must be married. And I tell them that Baydas are not breeding in slavery. At least, not at this point of my life. I am young, and my whole life is before me. Besides, can you imagine that I went to some symposium, and there would be swarms of girls in there. So, I would teach a girl how to make pottery. When I do this, I touch her palm, I can set her hairdo, touch her leg and whatever — somebody could misinterpret that. But to tell the truth, it is normal, it is OK to do so. And I can go to symposium to Zaporizhya, or to Odessa, or to Chyhyryn, to Cherkasy, or abroad, for example I can go to Poland and work there. Would any girl bear that? There were many invitations, but I never went. I have plenty of businesses to do here, in Ukraine. I have a plan, and I want to fulfill it, and only after that I can go somewhere. You know, there is a great difference: when you go somewhere by yourself to spin yourself, and you hire an interpreter to deal with somebody; and when you are a famous artist, and you go somewhere and people hire the interpreter to communicate with you. What is your style? Where do you get the ideas for the future pieces of earthenware? And when do you get the feeling, that this pot or this composition is ready? You said that sometimes there are defective products… What do you do with them? Tell me about the elephant collection that is nestled on the shelves? But still… Can you say that you live in your studio? It is ready in a half an hour, and I work for the whole night… coffee and go… Do you have time for some rest? And what about your private life? Do girls like pottering as much as you do? And did you go abroad? Kateryna Kachur visited the studio «Rukotvory».

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