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Doctor of Philosophy Declaration I, Anne Riggs, declare that the PhD thesis entitled The Creative Space. Art and wellbeing in the shadow of trauma, grief and loss, is no more than 100,000 words in length including quotes and exclusive of tables, figures, appendices, bibliography, references and footnotes. This thesis contains no material that has been submitted previously, in whole or in part, for the award of any other academic degree or diploma. Except where otherwise indicated, this thesis is my own work. Signature Date 2
ABSTRACT This thesis explores the relationship between creative arts practice and trauma, loss and grief, including the shadowy world of sexual abuse. It is an examination of what art and the artist can contribute to wellbeing in the aftermath of such experiences through collaborative processes. It has involved creating art with a community of women who have inhabited spaces of trauma and loss and who carry the stigmata of these experiences. It examines what it means for artists to delve into the shadows of what hurts, disturbs and stultifies so as to offer something back that reveals, transforms and restores. Participant and counsellor interviews, as well as the reflections of the artist as a participant/observer, are the main methods used to investigate the impact of creativity on wellbeing for women who have experienced trauma, grief and loss. Through a process of reflection and critical analysis, this research contributes to a more nuanced understanding of how art-making and a relationship with art and artists can influence the wellbeing of those dealing with trauma, loss and grief. The thesis also considers the creative spaces of artists: both the studio and the artist’s internal world. Consequently, part of the research has involved the contemplation and exhibition of the artist’s own reflective creative practice on trauma, loss and grieving, and the transformations and revelations that occur through the creative process. Keywords: Art, trauma, grief, loss, sorrow, mosaic, ceramics, mourning, creativity 3
Page 1: THE CREATIVE SPACE Art and wellbein
Page 5 and 6: Impervious spaces .................
Page 7 and 8: Simone White, Fur, Anne S, Glynis E
Page 9 and 10: that future generations would be si
Page 11 and 12: enormous amounts of time pursuing o
Page 13 and 14: the humanities, and undoubtedly one
Page 15 and 16: actualisation, referring to the hum
Page 17 and 18: 3 LITERATURE REVIEW This literature
Page 19 and 20: concept of wellbeing recognises tha
Page 21 and 22: Arts in Health practice: how do art
Page 23 and 24: terrorism and natural disaster (in
Page 25 and 26: momentous experiences. Those who ar
Page 27 and 28: Above are some of the common respon
Page 29 and 30: of childhood sexual assault (CSA) a
Page 31 and 32: around are being formed and when th
Page 33 and 34: The “sense” or “felt” memor
Page 35 and 36: Auschwitz. The historians, aware th
Page 37 and 38: … is never acquired again” (12)
Page 39 and 40: expression relate to the victims. B
Page 41 and 42: Mourning is a dreaded task for surv
Page 43 and 44: Gillies and Robert A Neimeyer ident
Page 45 and 46: choosing to belong to a family one
Page 47 and 48: possibilities revealed? (507). When
Page 49 and 50: soldiers. The emotional burden of t
Page 51 and 52: Materials and their transformation
Page 53 and 54:
find a contemplative space in which
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the familiar and courting the unkno
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addition, how might words be used t
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incomplete catalogue of sexual abus
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All groups reached capacity and som
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counsellors’ presence within the
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In addition to these questions, I a
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theories that ground how counsellor
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Studio practice An investigation in
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Many of the works are small, someti
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5 ART IN THE SHADOW OF TRAUMA So th
Page 75 and 76:
ascribed to the various human excha
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gave them freedom to experiment. Mo
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desires were irrelevant to their ar
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A significant shift in individual w
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Nonetheless, dark shadows occasiona
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than that!” “Fine”!! I starte
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In the first section below, I discu
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With hundreds of drawings spread ar
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I have always taken a back seat, I
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Schmidt offers insights into this b
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Garner proposes we each need to fin
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For some of these women, functionin
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a creative collaboration with me an
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“always being compromised”. Whi
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Water I did the fire one, and it to
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The women’s evolution, from the e
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pair of participants make a large p
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Notwithstanding their doubts, the p
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In its ordinariness, it was also pr
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desire to hold and nurture a develo
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flash, like a no-brainer!” She sa
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Barb had not seen me make art and t
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suggests that art-making is not sim
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“voiceless” as a result. This i
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The pain of the actual trauma was,
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So, it was doing something, but I d
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I am becoming one fine damn woman!
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artist, but I love art”. Yet she
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It doesn’t make a statement any m
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her children with her conflicted in
Page 135 and 136:
In undertaking the project with ser
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It is hard to underestimate the sig
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This chapter maps the landscape in
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impediments to social connectedness
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visualise a different and better fu
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Figure 1 Paver Figure 2 Mirror Figu
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Figure 6 Fire Figure 7 Water iii
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Figure 10 Paver Figure 11 Birds v
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Figure 14 Mini Me Figure 15 Nude vi
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6 ART IN THE SHADOW OF TRAUMA, LOSS
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Sexual abuse, the inspiration behin
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corrode the plate, he created a lan
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discusses how the distorting and th
Page 161 and 162:
The oversized and triumphant, and o
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when the experience is so alien and
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As land available to the village is
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Forbidden Memory (Figures 11 and 12
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embedded in Doilies, are an express
Page 171 and 172:
This question challenged my creativ
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and emptied of life. The angelic wh
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completely flow away, change colour
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Accommodation Art-making keeps the
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engagement that comes with an immer
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public discussion about sexual abus
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Figure 3 Uncomforted and Comfortles
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Figure 7 These Ancient Sorrows (sel
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Figure 17 Forbidden Memory (selecti
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Figure 15 Seeping into the Groundwa
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Figures 17 and 18 Ghosts of a Lost
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Figure 21 selection of small river
Page 195 and 196:
7 ART IN THE SHADOW OF LOSS AND GRI
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that they were able to temper their
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Kollwitz, for example, is important
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childhood and the feelings experien
Page 203 and 204:
The creation of personal, meaningfu
Page 205 and 206:
transformation and objectification
Page 207 and 208:
the desire to use the clay, and “
Page 209 and 210:
Gesture and Body For figurative scu
Page 211 and 212:
Taboos were largely conquered soon
Page 213 and 214:
them, she is just apart from them.
Page 215 and 216:
odds with this intention. What did
Page 217 and 218:
participants told of relationships
Page 219 and 220:
the fear of participants’ anger b
Page 221 and 222:
gruesome, like it was “made by a
Page 223 and 224:
the whole look of it, instead of be
Page 225 and 226:
emphasised the point I raised in Ch
Page 227 and 228:
The second heart is sculptural, mad
Page 229 and 230:
Linda’s Boat (Figure 12) is an ex
Page 231 and 232:
Some participants intentionally mad
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oom, it collapsed when I moved it t
Page 235 and 236:
lead a harmonious life. All but one
Page 237 and 238:
commonly avoided, painful and slow,
Page 239 and 240:
I find it intriguing that the plast
Page 241 and 242:
to approach her artwork and herself
Page 243 and 244:
comfort; others flop in pain and in
Page 245 and 246:
public through small and large exhi
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where art comes from; being able to
Page 249 and 250:
Figure 3 Pain Figure 4 CASA Dolls i
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Figure 7 No! Figure 8 Man with Nail
Page 253 and 254:
Figure 11 Heart II Figure 12 Boat F
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Figure 16 Family Figure 17 Lovers v
Page 257 and 258:
8 IN DAPPLED SHADOWS I began this t
Page 259 and 260:
of what is revealed in this thesis
Page 261 and 262:
ushfires and to other communities b
Page 263 and 264:
and artists contribute to wellbeing
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acknowledging and living. I referre
Page 267 and 268:
The artist’s practice In his stud
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conducive for learning, transformat
Page 271 and 272:
the other women. Most were embolden
Page 273 and 274:
each happens is unique and signific
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emotions poured from them, women so
Page 277 and 278:
I said earlier that those who go th
Page 279 and 280:
An important finding of the thesis
Page 281 and 282:
esearch subject added another unexp
Page 283 and 284:
Yes, because as I said, I have been
Page 285 and 286:
obbed of sunshine and light, they c
Page 287 and 288:
Figure 3 Grieving Parents, Kathe Ko
Page 289 and 290:
Belau, Linda. "Trauma and the Mater
Page 291 and 292:
Cubilie, Anne. Women Witnessing Ter
Page 293 and 294:
---. "The Prevention of Childhood S
Page 295 and 296:
Hanh, Thich Nhat. The Heart of the
Page 297 and 298:
Kelly, Anita. The Psychology of Sec
Page 299 and 300:
Martin, Jay. "Against Consolation.
Page 301 and 302:
Rando, Therese A. Treatment of Comp
Page 303 and 304:
Spurling, Florence, and Enda McDona
Page 305 and 306:
Winnicott, DW. The Child, the Famil
Page 307 and 308:
Letter of invitation to participate
Page 309 and 310:
Information given to participants (
Page 311 and 312:
For the period of the art sessions,
Page 313 and 314:
Recording consent (Printed on VU Le
Page 315 and 316:
Entry and exit interview questions
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