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1 ACKNOWLEDGEMENTS ..................................................... 6 2 INTRODUCTION................................................................ 8 3 LITERATURE REVIEW ..................................................... 17 Art and wellbeing ........................................................................................18 In the shadow of trauma, loss and grief .......................................................24 Art and wellbeing in the shadow of trauma, loss and grief .............................46 4 METHOD .......................................................................... 56 Community art............................................................................................57 Studio practice............................................................................................69 5 ART IN THE SHADOW OF TRAUMA ................................. 73 Group projects............................................................................................86 Elements ....................................................................................................87 A different earth and air ............................................................................ 106 Putting Myself in the Picture ...................................................................... 118 Public creative spaces................................................................................ 135 Bountiful shadows..................................................................................... 138 6 ART IN THE SHADOW OF TRAUMA, LOSS AND GRIEF . 145 Materiality ................................................................................................ 147 Body ........................................................................................................ 149 Nourishing ................................................................................................ 152 Domestic illusions ..................................................................................... 158 Presence and absence............................................................................... 162 4
Impervious spaces .................................................................................... 166 Accommodation ........................................................................................ 169 7 ART IN THE SHADOW OF LOSS AND GRIEF ................. 174 Artworks................................................................................................... 180 Towards restoration .................................................................................. 209 8 IN DAPPLED SHADOWS ................................................ 227 Art against oblivion ................................................................................... 231 Abyss ....................................................................................................... 234 The artist’s practice................................................................................... 237 Fictive kin ................................................................................................. 240 Aesthetic redemption ................................................................................ 242 Space and time......................................................................................... 249 Dappled shadows...................................................................................... 253 9 BIBLIOGRAPHY............................................................. 256 10 APPENDIX ..................................................................... 274 Ethics approval ......................................................................................... 274 Letter of invitation to participate ................................................................ 275 Information given to participants ............................................................... 277 Recording consent .................................................................................... 281 Entry and exit interview questions for participants....................................... 283 2008 and 2009 SECASA calendars .............................................................. 284 Additional images on DVD ......................................................................... 284 5
Page 1 and 2: THE CREATIVE SPACE Art and wellbein
Page 3: ABSTRACT This thesis explores the r
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
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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
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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
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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
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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
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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
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The creation of personal, meaningfu
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transformation and objectification
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the desire to use the clay, and “
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Gesture and Body For figurative scu
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Taboos were largely conquered soon
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them, she is just apart from them.
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odds with this intention. What did
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participants told of relationships
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the fear of participants’ anger b
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gruesome, like it was “made by a
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the whole look of it, instead of be
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emphasised the point I raised in Ch
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The second heart is sculptural, mad
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Linda’s Boat (Figure 12) is an ex
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Some participants intentionally mad
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oom, it collapsed when I moved it t
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lead a harmonious life. All but one
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commonly avoided, painful and slow,
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I find it intriguing that the plast
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to approach her artwork and herself
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comfort; others flop in pain and in
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public through small and large exhi
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where art comes from; being able to
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Figure 3 Pain Figure 4 CASA Dolls i
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Figure 7 No! Figure 8 Man with Nail
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Figure 11 Heart II Figure 12 Boat F
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Figure 16 Family Figure 17 Lovers v
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8 IN DAPPLED SHADOWS I began this t
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of what is revealed in this thesis
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ushfires and to other communities b
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and artists contribute to wellbeing
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acknowledging and living. I referre
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The artist’s practice In his stud
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conducive for learning, transformat
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the other women. Most were embolden
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each happens is unique and signific
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emotions poured from them, women so
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I said earlier that those who go th
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An important finding of the thesis
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esearch subject added another unexp
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Yes, because as I said, I have been
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obbed of sunshine and light, they c
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Figure 3 Grieving Parents, Kathe Ko
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Belau, Linda. "Trauma and the Mater
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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
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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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