Pilot, 2 Children Survive Night on Airplane’s Wing After It Crashes into Icy Alaska Lake 

This photo provided by the Alaska National Guard shows an airplane partially submerged into the ice of Tustumena Lake at the toe of a glacier on Monday, March 24, 2025, near Soldotna, Alaska. (Alaska National Guard via AP) 
This photo provided by the Alaska National Guard shows an airplane partially submerged into the ice of Tustumena Lake at the toe of a glacier on Monday, March 24, 2025, near Soldotna, Alaska. (Alaska National Guard via AP) 
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Pilot, 2 Children Survive Night on Airplane’s Wing After It Crashes into Icy Alaska Lake 

This photo provided by the Alaska National Guard shows an airplane partially submerged into the ice of Tustumena Lake at the toe of a glacier on Monday, March 24, 2025, near Soldotna, Alaska. (Alaska National Guard via AP) 
This photo provided by the Alaska National Guard shows an airplane partially submerged into the ice of Tustumena Lake at the toe of a glacier on Monday, March 24, 2025, near Soldotna, Alaska. (Alaska National Guard via AP) 

A pilot and two children survived on the wing of a plane for about 12 hours after it crashed and was partially submerged in an icy Alaska lake, then were rescued after being spotted by a good Samaritan.

Terry Godes said he saw a Facebook post Sunday night calling for people to help search for the missing plane, which did not have a locator beacon. On Monday morning, about a dozen pilots — including Godes in his own airplane — headed out to scour the rugged terrain for the missing plane. Godes headed toward Tustumena Lake near the toe of a glacier and spotted what he thought was wreckage.

"It kind of broke my heart to see that, but as I got closer down and lower, I could see that there's three people on top of the wing," he told The Associated Press on Tuesday.

After saying a little prayer, he continued to get closer and saw a miracle.

"They were alive and responsive and moving around," he said, adding they waved at him as he approached.

The missing Piper PA-12 Super Cruiser, piloted by a man with two immediate juvenile family members aboard, flew Sunday on a recreational sightseeing tour from Soldotna to Skilak Lake on the Kenai Peninsula.

The three were rescued on the eastern edge of Tustumena Lake on Monday by the Alaska Army National Guard after Godes alerted other pilots searching for the plane that he had found it. Another pilot, Dale Eicher, heard Godes' radio call and alerted troopers since he was closer to Skilak Lake and figured he had better cell reception. He was also able to provide the plane's coordinates to authorities.

"I wasn’t sure if we would find them, especially because there was a cloud layer over quite a bit of the mountains so they could have very easily been in those clouds that we couldn’t get to," Eicher said. But he said that finding the family within an hour of starting the search and finding them alive "was very good news."

The three survivors were taken to a hospital with injuries that were not considered life-threatening, Alaska State Troopers said.

"They spent a long, cold, dark, wet night out on top of a wing of an airplane that they weren’t planning on," Godes said.

He said there were many miracles at play, from the plane not sinking, to the survivors being able to stay perched atop the wing, to the three surviving the night in temperatures dipping into the 20s (subzero Celsius).

"It's a cold dark place out there at night," he said.

The plane was mostly submerged in the lake with only the wing and the top of the rudder exposed above the ice and water, Godes noted.

Alaska is a state with few roads, leaving many communities to rely on small airplanes as the preferred mode of transportation.

Last month, in western Alaska, 10 people died when a small commuter plane that was overweight by half a ton crashed into sea ice in the Norton Sound, near Nome on the state’s western coast.

Five years ago, a deadly midair collision near the Soldotna airport claimed the lives of seven people, including an Alaska state lawmaker.

The Alaska Army National Guard dispatched a helicopter from its base in Anchorage to rescue the three people on Monday morning.

The initial plan was to use a hoist to pull the three up and off the wing, but it proved to be too dangerous as the smallest girl was being buffeted and blown around by the wind created by the helicopter, said Lt. Col. Brendon Holbrook, commander of the guard’s 207th Aviation Regiment. So, instead the helicopter hovered to the side of the plane's wing and pulled the three people on board.

He said his personnel reported the two girls were surprisingly dry but the adult male had been in the water at some point. "We don't know to what extent, but he was hypothermic," Holbrook said.

Holbrook said he was told the three people had basic clothing one would wear in Alaska on small planes without very good heating systems, but nothing sufficient to keep a person warm outside in winter-like temperatures with cold winds blowing on the lake.

"It was literally the best possible scenario and outcome," Holbrook said. "Ultimately, the crew of that airplane were lucky because from what my guys told me, that plane was in the ice with the tail refrozen and if that tail hadn’t refrozen, it would have sunk."

There is no indication why the plane crashed. The National Transportation Safety Board said Tuesday that it is investigating with the Federal Aviation Administration.

The 60,000-acre (24,200-hectare) Tustumena Lake is situated about 80 miles (130 kilometers) southwest of Anchorage and has been described by the Alaska Department of Fish and Game as "notorious for its sudden, dangerous winds."

Conditions around the lake — with nearby mountains, a glacier and gusty winds — can cause havoc for both boats and planes. The body of water is the largest freshwater lake on the Kenai Peninsula.

"Even under what would be considered a benign or relatively weak pressure gradient, the terrain helps turn the winds around, and occasionally they get a little squirrelly," said Michael Kutz, a meteorologist at the National Weather Service in Anchorage.

Godes agreed that the area is always windy, and fresh water can kick up with the wind and turn into waves.

"Then just the way it’s placed right there at the heel of that, or at the toe of that glacier where you’ve got mountains on both sides, you know, just a few miles to the west, you’ve got Cook Inlet running back and forth with huge temperature and tidal swings every day. It’s just a recipe for chaos and for turbulence," he said.



Alla Abdunabi: Solo Show Transformed How I Engage With My Work

Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
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Alla Abdunabi: Solo Show Transformed How I Engage With My Work

Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)

Libyan-British artist Alla Abdunabi is elated by the success of her debut solo exhibition, hosted by Abu Dhabi’s 421 Arts Campus as part of its 2025 winter season.

Exploring the concept of simulacra (how symbols evolve and shape cultural narratives) and how colonial history has shaped practices of care within museums, the exhibition runs from January 30 - May 4. 

Abdunabi is among the emerging artists supported by 421 Arts Campus, an independent platform in Abu Dhabi dedicated to fostering creative talent.

This year, the institution spotlighted her work with her first solo exhibition, ”Are your memories of me enough for you?”, offering audiences an intimate glimpse into her artistic journey.

Speaking to Asharq Al-Awsat about her experience in Abu Dhabi, Abdunabi reflected on her participation in the 2025 cycle of the 421 Artistic Development Program and the launch of her first solo exhibition.

She said the program was a turning point for her, and that it gave her the chance to grow an artistic practice in a space of dialogue with other artists and mentors.

Working on a solo exhibition changed the way she engaged with her own work, she explained.

One of the key lessons Abdunabi learned was understanding how different bodies of work interact—conceptually and spatially. That added layers of complexity she found exciting, opening up new possibilities for exploration.

Conceptual Approach

Abdunabi’s academic background is not strictly in fine arts. She studied interdisciplinary design, focusing on motion graphics, spatial and experimental design, and art installations.

Her artistic practice has expanded beyond the existence of objects themselves to how they interact with the surrounding space—whether inside a white-walled gallery or in a public setting.

For Abdunabi, engaging with an artwork is as significant as the piece itself.

Research through design was a core part of her studies and remains central to Abdunabi’s approach today.

Even though the work has a conceptual nature, it always begins with research, using the history of objects to better understand the world we live in.

In “Are your memories of me enough for you?” Abdunabi examines the concept of false resemblance, questioning how truth is constructed and how objects shape specific versions of reality through their symbols.

She explores how these icons are preserved, restored, and reinterpreted over time, prompting reflections on how contemporary audiences engage with such narratives.

Her work draws from the theories of French philosopher Jean Baudrillard, who argued that in today’s world, images do not merely reflect reality but create their own, blurring the lines between authenticity and illusion.

In an era flooded with visual representations, Abdunabi investigates how individuals discern between the real and the fabricated.

Through her exhibition, she challenges the conventional role of images and symbols, positioning them as active agents in shaping truth rather than simply depicting it.

By presenting alternative narratives, the show encourages visitors to reflect on how easily new realities can be constructed through visual culture.

Abdunabi sees art as a fundamental force in shaping how history is remembered and interpreted. Cultural symbols, she argues, carry layers of meaning that evolve over time, influencing collective memory in ways that are not always immediately visible. Her work explores how these symbols are preserved, repurposed, or erased—and what those choices reveal about the narratives societies choose to uphold.

Her exhibition also raises critical questions about how institutions handle objects tied to histories of violence. It challenges audiences to consider how museums, archives, and galleries frame and present artifacts with legacies of displacement, destruction, or exploitation.

While these institutions often portray themselves as neutral spaces, they actively shape meaning through preservation, display, and classification.

Rather than offering definitive answers, Abdunabi’s work seeks to expose these underlying systems and interrogate the very concept of preservation. It questions whether preservation can, at times, serve as a form of erasure or control.

The exhibition also examines the relationship between objects and the spaces they inhabit—whether in public settings, artistic contexts, or museum collections—highlighting the complexities of storytelling across these different environments.

Blending Research and Artistic Experimentation

For Abdunabi, research is always the starting point of her creative process—but it extends beyond gathering information. Her approach involves complicating historical narratives and engaging in speculative and imaginative interventions through art.

Rather than treating research and artistic practice as separate processes that need balancing, she sees them as part of an ongoing dialogue. Research informs artistic decisions, while artistic interventions, in turn, open new perspectives for inquiry.

Material experimentation is also central to her practice. She combines academic research, rooted in literature and historical analysis, with sensory and experimental exploration—emphasizing the importance of physical interaction with objects and materials. This interplay between intellectual inquiry and hands-on experimentation shapes the depth and complexity of her work.

Looking Ahead: Expanding Artistic Exploration

Abdunabi aims to deepen her exploration of the themes she has been working on while pushing them into new forms. Recently, she has been reflecting on how history is confronted both within institutional spaces and beyond.

She is also keen to experiment with different media, particularly spatial and immersive approaches that enhance the experience of interacting with objects and images.

Ultimately, her goal remains the same—to continue asking questions and engaging with the world in ways that are both direct and necessary.