Chatham Bend’s Birds of Passage - Young Art Writers Project
Published February 25th 2026
By Maya Jones
Housed in the fine arts collection of The Arkansas Museum is a striking ink painting titled Chatham Bend (2017), which features a meticulously rendered Florida panther sitting among a pile of dead, pink flamingos(1). How is one to interpret this imagery, and is this solely a portrayal of natural behavior, or does it convey another meaning? The artist, George Boorujy (b. 1973), is credited with many works of art about the environment and humanity’s contribution to its degradation, especially in these last few decades(2). In particular, he believes “...we each bear responsibility for the fate of the natural world…that artists can play a critical role in that effort, by helping people to see”(3). However, in this work, Boorujy’s inspiration is layered, as he considers multiple complex and deeply personal topics. Drawing on his affinity for the natural world, this paper examines the artwork’s title, the artist’s social media commentaries, and the symbolic histories of the Florida panther and flamingos to argue that Chatham Bend offers a profound and underrecognized critique of mass immigration. This interpretative lens allows for the artist’s work to be appreciated not only for its exploration of ecological themes but also for its socio-political commentary.
A review of George Boorujy’s Instagram reveals an unfinished draft of Chatham Bend posted in January 2017. While his other posts primarily address humanity’s indifference to the environment, his caption for this artwork addresses the aftermath of rage. More specifically, about Middle Eastern immigrants, and others from Ireland, Iceland, Germany, and Denmark, who were fleeing terrible conditions and even genocides(4). Boorujy stated that he is a by-product of this, that “...I am what America is. And those trying to come here now are ALSO what America is. And I’m going to continue to draw from rage”(5). This post indicates that Boorujy isn’t merely talking about the plume trade, which involved the abduction and slaughter of flamingos, roseate spoonbills, and countless other birds for their vibrant feathers, but rather something more personal to him, and to his ancestors who came before him(6). Additionally, two of the hashtags on this post, “#illegittimatepresident” and “#welcometofascism”, suggest that Boorujy was opposed to Trump becoming the president after Obama, because of his harsher immigration enforcement(7).
Historically, a variety of immigrants arrived in the U.S. from the late 19th to the early 20th century, a phenomenon often referred to as the "birds of passage" movement. Beginning as early as the 1800s, Arab Christians from modern-day Israel, Syria, and Lebanon fled to escape religious persecution from the Ottoman Empire(8). Immigrants from Italy, Germany, and Ireland sought to live in the U.S for its economic opportunities, among countless other reasons. Individuals from Cuba found success in trading tobacco, coffee, and sugar in Florida and in relocating there for stable employment in cigar companies(9). These newcomers either stayed permanently or resided and worked temporarily to save money for their families back home. However, as the influx of immigrants increased dramatically in the late 19th century, many Americans shifted from indifference to concern and even outrage. They wholeheartedly believed the grueling economic depression could have been avoided if immigrants hadn’t flooded the job markets. Their presence increased labor supply, which put downward pressure on wages and limited job opportunities. Immigrants were an easy target, which led to countless radicalist theories, suggesting that certain Mediterranean types were inferior, violent, and uncivilized (10). Other media claimed that “...if immigration was properly restricted, you would never be troubled with anarchism, socialism, the Mafia and such kindred evils (11).” This is just a sampling of the destructive rhetoric that offers perspective on how horribly these individuals, families, and even children were viewed and treated.
The artwork's title, Chatham Bend, refers to a small, nondescript island in Florida. However, the title may conceal a deeper meaning, referring to a tragic historical event believed to have occurred on that island rather than merely to its location or landscape. The name mentioned in reports, the disturbing antagonist of Chatham Bend, is Edgar J. Watson(12). His story is riddled with questions, and some believe it is a myth. Although, if the reporting is accurate, then Edgar was a deeply troubled individual. He grew up poor in South Carolina, with a supposedly abusive father(13). Throughout his childhood to adult years, countless events have been re-told of his murders from South Carolina to Oklahoma(14). In 1892, Watson seemed to have parted from his wicked ways, settling on a small island in Southwest Florida(15). Known as a fierce businessman with striking blue eyes, he became quite prosperous selling vegetables, sugarcane, and Buttonwood trees for lumber. Despite his success, different sources claimed that Edgar would typically hire “...men with no families [and] rumors began to spread that he never paid his workers. When they asked for their pay, he would simply kill and bury them in shallow graves or dump them in one of the river tributaries. They were outsiders to the area, and no one knew their names (16 ).” There were other accusations, but justice was not served until a local white woman, Hannah Smith, and the notable Tucker family were found dead on his property. This prompted civilians to confront him on October 24th, 1910 (17). An intense argument ensued and culminated with bullet holes throughout his body. Justified or not, Edgar J. Watson succumbed to a violent death on that day. Though the validity of his story is still up for debate, its lore is enhanced through the dubiety of his many hired hands. In relation to the artwork, this tragic account was used to criticize how immigrants were being treated and viewed for merely seeking a better life. Furthermore, many articles suggest that Watson’s atrocities might have been overlooked if he hadn’t killed those residents who were well-known on the island. In other words, justice can be unfairly selective and only served when the victim is someone that is more “human” and “important.”
In addition to the title and Boorujy’s Instagram post, the artwork offers a connection that supports the stated theme. Depicted in the piece are two animals, a Florida panther and flamingos. The predator is sitting upright, while also slouching its back with a blank expression, almost as if contemplating something or in denial. Surrounding the feline are the discarded bodies of dead flamingos, with pink feathers scattered across the landscape and caught in the panther’s claws and teeth. Interestingly, these animals reflect the two sides of the Chatham Bend murders.
Similar to Edgar J. Watson, the Florida panther has a complex history that sometimes blurs the line between facts and legend. Many Europeans inherently feared these big cats, hunting and trapping them to near extinction, until they were protected under the Federal Endangered Species Act in 1973 (18). However, others looked upon these animals in reverence. A Cherokee legend describes the feline as heroic and majestic, stating that “...when the Earth was first made the animals and plants were advised to stay awake for seven days; among the animals, only the owl and the panther and a few others were able to stay awake—and to these were given the ability to see at night and [hunt] (19).” Taking this into consideration, Edgar may be observed from these two contrasting viewpoints. Some argued he was a corrupt and violent person, who needed to face the consequences for his actions, and only a sentence of death or lengthy jail time would suffice. Others believed he was a successful businessman, while conveniently glossing over the “skeletons in his closet” in the form of the many reported dead bodies buried on his properties. While difficult to accept, the latter becomes more understandable with some context. The South was in the middle of the Jim Crow movement, where racial segregation and discrimination were not only commonplace, but systemically rooted in the legislation of the period. Given that most of Edgar’s victims were immigrants and the South remained dominated by social injustices and systems of forced labor, these exploitative conditions likely fostered a local indifference toward his transgressions. Some might have even revered Edgar, since many citizens already considered these newcomers subhuman and blamed them for their economic troubles.
Having likened the panther to Edgar, the flamingos in the ink painting reflect immigrants and the wickedness committed against them. Flamingos are not considered migratory birds, but are known for being “....strong flier[s] that can move large distances in search of food or reproductive opportunities…[and] are social birds, often congregating in large flocks that can range from several pairs to groups numbering in the thousands (20).” Through this lens, one can view the pink-colored birds to represent the countless, determined immigrants coming to America in search of better opportunities. They aren’t necessarily individuals who want to travel to a new place, but their inner strength provides the fortitude and ability to leave a devastating past for a country that may promise a brighter future. Of course, the response they receive from America is not very welcoming. It’s just the opposite, with backlash grounded in distrust, discrimination and violence. Therefore, the flamingos represent the persecuted immigrants, while the panther represents the exploitative, nativist power (Edgar J. Watson), who is himself a figure of local myth with a cruel and brutal tale.
Overall, George Boorujy’s piece, Chatham Bend, exhibits some predictable environmental commentary, but also reflects a powerful social critique. While most of his works focus solely on a perspective of climate change or humanity’s tense relationship with the environment, this piece has additional meaning. The focus of this paper considers the work’s underlying commentary about the history of mass immigration to America, specifically to Florida in the 19th and early 20th century, and how these newcomers were received by U.S. citizens (21). Boorujy’s key Instagram post, the carefully selected title, and the symbolism behind the two depicted animals further supports this interpretation. By analogizing the vulnerability of these species to reflect the exploitation and violence experienced by "birds of passage" immigrants, Boorujy ultimately challenges viewers to look past the surface-level aesthetics and focus on the connection between the fate of the natural world to political injustice and human conflict. Such a layered interpretation illustrates the power of art. A work’s capacity for diverse meanings allows it to resonate uniquely with every viewer. Therefore, a museum visit should become more than a cursory glance. There are going to be different pieces worthy of closer examination by each individual, which may uncover deeper insights into the artwork, the artist, and the human condition.
1“Chatham Bend,” Arkmfa.org, Accessed Oct. 14, 2025,
https://collection.arkmfa.org/objects/14016/chatham-bend.
2 Yam Oh, “Portfolio: George Boorujy,” School of Visual Arts | SVA | New York City, Accessed Oct. 14, 2025, https://sva.edu/features/portfolio-george-boorujy.
3 Oh, “Portfolio: George Boorujy.”
4“George Boorujy (@Georgeboorujy) • Instagram Photos and Videos,” Instagram.com, Accessed Oct. 14, 2025, https://www.instagram.com/georgeboorujy/?hl=en.
5“George Boorujy (@Georgeboorujy).”
6“George Boorujy (@Georgeboorujy).”
7“George Boorujy (@Georgeboorujy).”
8“Immigration and Relocation in U.S. History | Classroom Materials at the Library of Congress | Library of Congress,” Library of Congress, Washington, D.C. 20540 USA, Accessed Oct. 14, 2025, https://www.loc.gov/classroom-materials/immigration/.
9“Immigration and Relocation in U.S. History.”
10 “Immigration and Relocation in U.S. History.”
11 “Immigration and Relocation in U.S. History.”
12 Ruthann Campbell, “Edgar J. Watson | Florida Sheriffs Association,” Florida Sheriffs Association, Accessed Oct. 12, 2025, https://flsheriffs.org/blog/entry/edgar-j-watson-serial-killer-or-florida-myth/. 13 Campbell, “Edgar J. Watson.”
14 Campbell, “Edgar J. Watson.”
15 Amanda, “The Crimes of Edgar J. Watson - Miami Haunts,” Miami Haunts, Accessed Nov. 2, 2025, https://miamihaunts.com/the-crimes-of-edgar-j-watson/.
16 Amanda, “The Crimes of Edgar J. Watson.”
17 Amanda, “The Crimes of Edgar J. Watson.”
18 Douglas Main, “The History of the Florida Panther, a Symbol of Reverence and Revulsion,” Education.nationalgeographic.org, Accessed Oct. 12, 2025, https://education.nationalgeographic.org/resource/the-history-of-the-florida-panther/.
19 Main, “The History of the Florida Panther.”
20 “American Flamingo,” Florida Fish and Wildlife Conservation Commission, Accessed Oct. 14, 2025, https://myfwc.com/wildlifehabitats/profiles/birds/waterbirds/american-flamingo/.
21 Oh, “Portfolio: George Boorujy.”
Amanda. “The Crimes of Edgar J. Watson - Miami Haunts.” Miami Haunts. April 30, 2025.
Accessed Nov. 2, 2025 https://miamihaunts.com/the-crimes-of-edgar-j-watson/.
“American Flamingo.” Florida Fish and Wildlife Conservation Commission. Accessed Oct. 14,
2025. https://myfwc.com/wildlifehabitats/profiles/birds/waterbirds/american-flamingo/.
Batalova, Jeanne, and Brandon Marrow. “Middle Eastern and North African Immigrants in the
United States.” Migrationpolicy.org. May 3, 2019. Accessed Oct. 14, 2025.
https://www.migrationpolicy.org/article/middle-eastern-and-north-african-immigrantsunited-
states.
Campbell, Ruthann. “Edgar J. Watson | Florida Sheriffs Association.” Florida Sheriffs
Association. December 14, 2024. Accessed Oct. 12, 2025.
https://flsheriffs.org/blog/entry/edgar-j-watson-serial-killer-or-florida-myth/.
“Chatham Bend.” 2017. Arkmfa.org. 2017. https://collection.arkmfa.org/objects/14016/chathambend.
“George Boorujy (@Georgeboorujy) • Instagram Photos and Videos.” Instagram.com. January
2017. Accessed Oct. 14, 2025. https://www.instagram.com/georgeboorujy/?hl=en.
“Immigration and Relocation in U.S. History | Classroom Materials at the Library of Congress |
Library of Congress.” Library of Congress, Washington, D.C. 20540 USA. Accessed Oct.
14, 2025. https://www.loc.gov/classroom-materials/immigration/.
Kuta, Sarah. “More than a Century Ago, Flamingos Disappeared from Florida. Now, They’re
Coming Home.” Smithsonian Magazine. June 7, 2024. Accessed Oct. 14, 2025.
https://www.smithsonianmag.com/smart-news/more-than-a-century-ago-flamingosdisappeared-
from-florida-now-theyre-coming-home-180984492/.
Main, Douglas. “The History of the Florida Panther, a Symbol of Reverence and Revulsion.”
Education.nationalgeographic.org. Accessed Oct. 12, 2025.
https://education.nationalgeographic.org/resource/the-history-of-the-florida-panther/.
Oh, Yam. “Portfolio: George Boorujy .” School of Visual Arts | SVA | New York City. 2024.
Accessed Oct. 14, 2025. https://sva.edu/features/portfolio-george-boorujy