This piece was part of a series of murals created by Shepard Fairey (Obey Giant) under the installation project of the Irvine Contemporary Art Gallery, with other artists including EVOL and PISA73 from Berlin, Gaia and Oliver Vernon from Brooklyn.It shows a Cambodian child holding a machine gun over his shoulder, with a flower in his hair highlighting his youth and innocence. The artist created another piece that protested against child soldiers called 'Duality of Humanity' at 4 Pike Street, Cincinnati. This mural was soon destroyed by the building's owner and the above mural no longer exists either.

"This how we sit when we are transported. This is how we sit in Libya; we don’t go out. In the truck. Always. In the Lampadusa [boat] this is how we sit for the whole journey. They are moving you from here to here, and this is how you have to sit, so many people together. In this position it is very bad. It is like being a slave. In the boat, if I had fallen in I would never had survived." This image was taken as part of the Voice of Freedom workshop in Asti, Italy, working with ten Nigerian women trafficked through Libya to Italy. The title of the photograph refers to the name of the individual who took the photograph, and not the figure therein.  Photo: Efe Bella, courtesy of Voice of Freedom.

This mural was created by street artist Hyuro as part of a series of pieces that celebrated the International Day for the Elimination of Violence Against Women on 25th November 2013. Hyuro is one of many artists who took part in the Memorie Urbane in Italy.This concept began in 2011 when Davide Rossillo, the president of creative tourism, had an idea about bringing contemporary art practices into the open space to create an open-ait museum. Memorie Urban proposes a new way of doing tourism and the team behind it began recognising 25th November in their project with this piece in 2013. This specific mural is in the city of Formia. It shows rows of women holding a banner with hundreds of tally marks, highlighting the number of women who have been subjected to violence, both inside and outside of slavery. The women and the banner wrap around a column on three faces. When these faces are put together (as in the first picture above) they form the continuous line of women and tallies.

"This is an iron that many people use to iron clothes. But there is another thing they use the iron for. Most of the madames that brought guests to Europe used the same iron to maltreat people, especially women that are trafficked—they use this iron on them when they get refused to pay their money. Even a friend of mine, she showed me her back where her madame plugged the iron and press it on her back. It is very bad for a woman to use an iron that is plugged, to put it on someone’s body, all in the name of money." This image was taken as part of the Voice of Freedom workshop in Asti, Italy, working with ten Nigerian women trafficked through Libya to Italy. The title of the photograph refers to the name of the individual who took the photograph, and not the figure therein.  Photo: Emmanuel Joyce, courtesy of Voice of Freedom.

March 2014 61-year-old Emmanuel Edet and his wife, 58-year-old Antan Edet were arrested by London police in their home in Perivale, North West London, after their “houseboy” Ofonime Sunday Inuk heard a radio report about modern slavery, and called a charity asking for their help. Emmanuel Edet, a former NHS obstetrician and Antan Edet, a senior midwife, trafficked Inuk, an orphan from Nigeria in 1989, telling immigration officials he was their teenage son. For 24 years Inuk worked unpaid for up to 17 hours per day looking after the couple’s two sons and performing domestic duties such as cooking, cleaning and gardening. He was made to sleep on the floor of the hallway. After confiscating his passport, the couple told Inuk if he were to leave the house he would be deported as an illegal immigrant.  In November 2015, The Edet’s were found guilty of child cruelty, servitude and for the assistance of unlawful immigration. Each have been sentenced to six years.Although the mistreatment of Inuk spanned 24 years, servitude only became an offence under the Coroners and Justice Act in 2009, so their conviction and sentencing for servitude can only count for injustices from 2010 to 2013.The Dark Figure* is an ongoing photographic project that investigates and documents UK neighbourhoods where victims have been identified as modern-day slaves. Photo: Farrier Road, Perivale, Ealing, London, courtesy of The Dark Figure

“In the house where I was working, I was always afraid. At night, I covered my bed with garlic and cross for protection.” – Woman from Ivory Coast This picture is part of PAG-ASA’s Photo-Voice project, which aims to give a voice to the human trafficking victims living in our shelter. For victims, explaining what they have been through is a complicated and distressing experience; the feeling that words are not enough is often overwhelming. 11 victims worked with us to create these photos. Each picture depicts an image and a message they wanted to convey. Each picture gives a glimpse of their personal experience and shows what it means to be a victim of human trafficking. The victims are present in every picture, both emotionally and physically, as they envisioned and interpreted them. Their stories are therefore an important means not only to raise awareness on human trafficking, but also to transmit a powerful message of strength.Photo: Fear, courtesy of PAG-ASA

The project Luchando Hasta Encontrarlas (Fighting Until We Find Them) was started by a group of mothers of girls from Juarez, Mexico who went missing and are presumed dead. The girls' family members and the police believe that these women were kidnapped and trafficked as prostitutes before being murdered. Since 1993 more than 430 women have disappeared and been murdered in the area. The project raises awareness by creating murals in the region, with public buildings, churches and businesses donating their walls for artists to create these pieces. Their aim is to create 200 murals across Ciudad Juarez to raise awareness of what is happening to young girls and women in this region and demand justice for those who have lost their lives. The local authorities told families that they were putting a stop to the search for their daughters, claiming that they were giving the city a 'bad name'. However these families are determined to campaign for justice. The above murals were created by Maclovio Macias and the artist also took part in a 200 mile march with many mothers who have lost their daughters. In the first piece, the quote reads 'No me Hallo. Estoy Desaparecida', which translates to 'I do not find me, I'm missing'. The rest of the mural contains images of mothers holding posters of their missing daughters, and these depict real families and real missing women. For example, the final image shows Esmeralda Castillo, who disappeared on 19th May 2009. 

The production of this mural was headed by the Inter-Agency Council Against Trafficking, who worked with the city government of Davao, Habitat for Humanity, Philippine Women's College and Davies Paints to bring the piece to life. Around 60 artists came together to create the mural along the walls of the Southern Philippines Medical Centre, which had been designed by students of the PWC.It was created to commemorate the International Day Against Child Trafficking on 12th December 2016. The project involved the wider community to raise awareness of human trafficking and violence against women and children. The theme of the mural was 'Let our children be: Let's end Human Trafficking'.

This mural was created by James Bullough with the Handle with Care Project, a Dallas-based organisation that is dedicated to fighting slavery through the arts. They argue that graffiti and slavery have something in common - they are both done covertly and are illegal, yet when a wall is defaced it can be painted over, whereas there is no "easy solution" for the slavery survivor.This piece 'Flycatcher 1' is one of four murals of individual birds that are dotted around the city and link back to the main mural of the project 'Release'. Unfortunately the building on which this mural was painted has now been destroyed.

This mural was created by James Bullough with the Handle with Care Project, a Dallas-based organisation that is dedicated to fighting slavery through the arts. They argue that graffiti and slavery have something in common - they are both done covertly and are illegal, yet when a wall is defaced it can be painted over, whereas there is no "easy solution" for the slavery survivor.This piece 'Flycatcher 2' is one of four murals of individual birds that are dotted around the city and link back to the main mural of the project 'Release'. The mural still survives today.

This mural was created by James Bullough with the Handle with Care Project, a Dallas-based organisation that is dedicated to fighting slavery through the arts. They argue that graffiti and slavery have something in common - they are both done covertly and are illegal, yet when a wall is defaced it can be painted over, whereas there is no "easy solution" for the slavery survivor.This piece 'Flycatcher 3' is one of four murals of individual birds that are dotted around the city and link back to the main mural of the project 'Release'. Although the building has been painted black, the mural survives in a patch of the red paint.

This mural was created by James Bullough with the Handle with Care Project, a Dallas-based organisation that is dedicated to fighting slavery through the arts. They argue that graffiti and slavery have something in common - they are both done covertly and are illegal, yet when a wall is defaced it can be painted over, whereas there is no "easy solution" for the slavery survivor.This piece 'Flycatcher 4' is one of four murals of individual birds that are dotted around the city and link back to the main mural of the project 'Release'. Unfortunately the building was demolished and the mural has been destroyed.

"After all the pain and suffering, now I try to free my mind.” – Man from Morocco This picture is part of PAG-ASA’s Photo-Voice project, which aims to give a voice to the human trafficking victims living in our shelter. For victims, explaining what they have been through is a complicated and distressing experience; the feeling that words are not enough is often overwhelming. 11 victims worked with us to create these photos. Each picture depicts an image and a message they wanted to convey. Each picture gives a glimpse of their personal experience and shows what it means to be a victim of human trafficking. The victims are present in every picture, both emotionally and physically, as they envisioned and interpreted them. Their stories are therefore an important means not only to raise awareness on human trafficking, but also to transmit a powerful message of strength.Photo: Freedom, courtesy of PAG-ASA

This mural shows an older woman on the left, with struggle carved onto her face. On the other side, we see her young daughter who pulls the fog that envelops her mother and uses this fog to weave threads of gold, creating a new life for both of them. It is situated in Lodhi Colony, an area of New Delhi that is full of murals thanks to the St+Art India Foundation. This non-profit organisation takes up projects to make art accessible to the public with their murals and installations in the area. This piece was created by Shilo Shiv Suleman with survivors of sex trafficking who are involved in Sewing New Futures. This is a social enterprise that empowers survivors and girls at risk of trafficking through career training, education, medical care, and social services. The company opened their pilot centre in May 2014 and has gone on to train and employ women to create fashion items, which are sold worldwide through their website. Suleman is involved with the Fearless Collective, an organisation that is building a movement of women across South Asia using beauty and art to reclaim public spaces with their stories. Set up in 2013, the organisation has created 25 murals, in eight countries and with hundreds of co-creators and is currently raising funds to open the first Fearless Collective Public Art Residency. 

"Many of us, and almost all of us, have passed through too many temptations in life, too many struggles and trials—the trip here, how difficult it is. Libya is hell… the sun… we are in prison. But being out of that Libya is to testify that we are now free from that place. So I took this picture as a bond of consolation. We were trafficked, and the anti-traffickers giving us the hope that they are going to deal with these issues." This image was taken as part of the Voice of Freedom workshop in Asti, Italy, working with ten Nigerian women trafficked through Libya to Italy. The title of the photograph refers to the name of the individual who took the photograph, and not the figure therein.  Photo: Gloria, courtesy of Voice of Freedom.

This mural was created by students of the Don Vicente Rama Memorial National High School with those involved with the organisation Good Shepherd, which supports vulnerable women and children. In Cebu City, the organisation has a Welcome House that was established in 2007 and takes in women and children who are survivors of human trafficking and sexual exploitation. This drop-in centre provides women and children with a safe space to discuss their experiences, receive food and get help.The piece is on the wall of The Shepherd's Heart Cafe, which aims to empower beneficiaries of Good Shepherd by providing them with work and training. Initially the cafe was set up by the organisation with the help of Peace Corps volunteers Amelia Kent and Roy Adam, before being taken over and run fully by beneficiaries of the organisation. Unfortunately, as of 2018, the cafe is permanently closed. This mural highlights the economic motive behind slavery and stresses how people are sold for the profit of others. On the left hand-side, a woman sits in a pile of money, while two hands shake below her. The innocence of the young girl who is crying on the right is emphasised by the doll she is holding and her school uniform.

"In desert there is no house. You can’t see house in desert. We just sleep outside. Back then they would load us like 50, 20, in the Helios [truck]. There would not be space for you to stand or move. So anybody that fall down, they are not going to wait for him, that person will just die there. Because of the sand there is no water, no food. We spent the nights on the sand, it was very very cold. Back home in Nigeria the sand is very good. There is no cold, no hot. Very good. We do spread clothes on it, and sleep on it. We don’t need to go inside because the sand will be okay." This image was taken as part of the Voice of Freedom workshop in Asti, Italy, working with ten Nigerian women trafficked through Libya to Italy.   Photo: self-portrait, Greatness, courtesy of Voice of Freedom. 

Art and Resistance Through Education (ARTE) worked with The Advocacy Lab, Project Futures Global, Somaly Mam Foundation (SMF), Subway Art History, students fom the Wings Academy and the South Bronx Community Association to create this mural, which is dedicated to the anti-trafficking activist Somaly Mam. The mural itself reads 'Somaly Mam' in graffiti style. It is in the South Bronx neighbourhood in New York. 

June 2015 53-year-old Jurate Grigelyte of Easton, Bristol was sentenced to 3 years in prison after admitting to 10 charges of facilitating entry into the UK with a view to exploiting labour, 10 charges of human trafficking and one count of forced labour. Grigelyte trafficked Lithuanian nationals to the UK with the promise of good employment and accommodation, but the workers, many of whom spoke little or no English, were forced to live in cramped and squalid conditions in properties around Bristol where she would lock them inside, only allowing them to enter and leave through a window. The victims worked illegally for Grigelyte’s charity bag business collecting donations from people and sorting through clothing. They were transported around the South West in vans with no seats or windows. A typical working day lasted from 5am to 6pm. Grigelyte promised workers £25 per day, but would deduct money for rent, travel and various fines, often leaving workers debt-bonded, with no money for food. Police arrested Grigelyte in November 2014 after a school raised concerns about the welfare of a six-year-old boy, who was the son of one of the victims.The Dark Figure* is an ongoing photographic project that investigates and documents UK neighbourhoods where victims have been identified as modern-day slaves. Photo: Hathaway Walk, Easton, Bristol, courtesy of The Dark Figure

"Thank you to all the people from PAG-ASA who carry me towards the light.” – Woman from China This picture is part of PAG-ASA’s Photo-Voice project, which aims to give a voice to the human trafficking victims living in our shelter. For victims, explaining what they have been through is a complicated and distressing experience; the feeling that words are not enough is often overwhelming. 11 victims worked with us to create these photos. Each picture depicts an image and a message they wanted to convey. Each picture gives a glimpse of their personal experience and shows what it means to be a victim of human trafficking. The victims are present in every picture, both emotionally and physically, as they envisioned and interpreted them. Their stories are therefore an important means not only to raise awareness on human trafficking, but also to transmit a powerful message of strength.Photo: Hope, courtesy of PAG-ASA