Hand of Everest, an art installation at 3,775 m that highlights the challenge of managing waste in the Himalayas and encourages visitors to join the call of the 'carry me back' program
“There is always a way to give back. ‘Carry me back’ says we can all take action. It does not fix the problem but it gives opportunities to people to see the problem and that you can make a difference in this area.”
Artist and Climate Activist
Artist and Climate Activist
In August 2024, Canadian climate activist and artist Benjamin Von Wong spent two weeks at Sagarmatha Next, transforming waste materials from the Khumbu region into the powerful installation ‘Hand of Everest’.
The project was supported by Kiehl’s, sponsor of the ‘carry me back’ program, and brought to life in collaboration with Nepali artist Dipak Lama, as his artist assistant, and the dedicated team at Sagarmatha Next.
Dipak played a pivotal role in the creation of the installation, contributing his sharp eye for detail, technical expertise, and extensive experience working with reclaimed materials. His efforts helped bring Benjamin’s vision to life, creating a striking testament to sustainability and artistic collaboration in the high Himalayas.
The vision behind 'Hand of Everest'
Benjamin’s concept for the installation was rooted in the spirit of the ‘carry me back’ program, which seeks to address the growing challenge of waste left behind in the Himalayas. For Benjamin, the message was clear: to create a striking visual symbol of the mountain coming to life—reaching out with a hand that calls for help.
The hand itself is made from repurposed materials: metals, old tents, and the very waste that ‘carry me back‘ aims to recycle: PET plastic bottles. The bright yellow of the old tents was chosen deliberately to ensure the installation stands out dramatically— “like a sore thumb” as Ben describes it. This vibrant hue mirrors the colour of the ‘carry me back’ bags used to collect waste, reinforcing the connection between the art, the program, and the urgent need for action.
Through this installation, Benjamin hopes to deepen public understanding of the ‘carry me back’ mission and inspire others to get involved and participate in the initiative.
The vision behind 'Hand of Everest'
Benjamin’s concept for the installation was rooted in the spirit of the ‘carry me back’ program, which seeks to address the growing challenge of waste left behind in the Himalayas. For Benjamin, the message was clear: to create a striking visual symbol of the mountain coming to life—reaching out with a hand that calls for help.
The hand itself is made from repurposed materials: metals, old tents, and the very waste that ‘carry me back‘ aims to recycle: PET plastic bottles. The bright yellow of the old tents was chosen deliberately to ensure the installation stands out dramatically— “like a sore thumb” as Ben describes it. This vibrant hue mirrors the colour of the ‘carry me back’ bags used to collect waste, reinforcing the connection between the art, the program, and the urgent need for action.
Through this installation, Benjamin hopes to deepen public understanding of the ‘carry me back’ mission and inspire others to get involved and participate in the initiative.
The making of Hand of Everest
The making of Hand of Everest
The team began by assessing the available scrap materials around Sagarmatha Next, selecting waste based on its availability, durability, and relevance to consumer use. The main structure of the installation was built using 12-foot flagpoles and rebars salvaged from a construction site at Sagarmatha Next.
Old yellow tents, retrieved from Everest Base Camp, were cut into strips and wrapped around the framework. For the fingers, the team used an oil drum to create makeshift nails. Approximately 8 kg of PET plastic bottles were drilled and wired together to form part of the hand’s surface.
Most of the work took place in the Waste Lab. To ease transportation, the palm was detached from the wrist and reassembled outdoors. Once the palm and wrist were joined, the entire structure was carefully lifted onto its foundation, filled with soil, and finished with additional plastic bottles to complete the design.
Thanks to Benjamin’s creative vision, the skillful metalwork of Dipak, and the support of the entire team, the 12-foot-tall installation was completed in just 11 days.
Experience at Sagarmatha Next
Benjamin found it to be an incredibly rewarding experience to come to Sagarmatha Next and work on the installation. Seeing the waste firsthand helped him fully grasp the significance of the ‘carry me back’ program.
He is grateful to the team at Sagarmatha Next, whose support was crucial in bringing the installation to life. The collaboration was marked by strong teamwork, with everyone excited to be part of the project.
Although Benjamin initially envisioned a much larger hand, the location and weather conditions made it impractical. He believes the biggest challenge in creating the installation was the difficulty of building so high up in the Himalayas. The logistics of getting materials there were a major obstacle, as the nearest road was too far away. “Creating an installation in the foothills of the Himalayas is not like making something in a city where you can get supplies instantly. That created a lot of stress initially”. However, these challenges also presented an opportunity to be creative, resourceful, and careful with the materials they had.
Experience at Sagarmatha Next
Benjamin found it to be an incredibly rewarding experience to come to Sagarmatha Next and work on the installation. Seeing the waste firsthand helped him fully grasp the significance of the ‘carry me back’ program.
He is grateful to the team at Sagarmatha Next, whose support was crucial in bringing the installation to life. The collaboration was marked by strong teamwork, with everyone excited to be part of the project.
Although Benjamin initially envisioned a much larger hand, the location and weather conditions made it impractical. He believes the biggest challenge in creating the installation was the difficulty of building so high up in the Himalayas. The logistics of getting materials there were a major obstacle, as the nearest road was too far away. “Creating an installation in the foothills of the Himalayas is not like making something in a city where you can get supplies instantly. That created a lot of stress initially”. However, these challenges also presented an opportunity to be creative, resourceful, and careful with the materials they had.
Benjamin Von Wong
Benjamin Von Wong
Benjamin Von Wong is a climate activist and visual artist from Canada known for his environmental art installations and hyper-realist art style. Ben’s work is focused on amplifying positive impact by creating unique, large-scale, installations that combine elements of fantasy and photography with everyday objects. Most recently, he was named one of Adweek’s 11 content branded masterminds. He is also the host of the Impact Everywhere Podcast and a creative advisor for the Ocean Plastic Leadership Network and the Sustainable Ocean Alliance.
Benjamin has created several installations that have gone viral and have generated over a billion organic views. His use of everyday objects that amount to a large scale over time can make the onlookers stop and evaluate their consumption patterns.