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1 ACKNOWLEDGEMENTS Unlike most of the participants in this project, I was very fortunate to be born into and raised in a family where parents properly cared for their children. Mine were parents who first loved each other, and then loved, taught, guided and supported us. My mother, in her steadfastness, steered and loved us in so many ways that, at the time, seemed utterly ordinary. Her mothering would have been extraordinary for most of the women who joined me in this research. I now see that for us it was too. My father died just before I began this thesis, before I learned from a different perspective what it was to have as my father this man of unfathomable integrity and so many other remarkable qualities. For many years, I have well understood how such a start in life, and the continuing closeness of our family, nurtures each of us, our partners and the subsequent generations. My sincere thanks are given to Carolyn Worth, Manager of SECASA, the South Eastern Centre for Sexual Abuse. Carolyn is an exceptional leader whose first and continuing response to this project has been positive and open. SECASA counsellors Mary Mass, Mary Martin, Dagmar Jenkins, Robyn Breheny, Emma Spence, Tanya Nash and Chrissie Ryan not only supported the women participants with great care, they shared their wisdom and knowledge with me. Their contributions are very gratefully acknowledged. These and many other SECASA counsellors, particularly Gwendoline Hanson, Sallyann Kempler and Susan McDougall, supported the project by referring participants, encouraging clients to first come and then stay with the project, and by offering the clients and me advice and help. It was a privilege to work with this organisation and the many fine people within it. I am indebted to the women who supported this project as participants. Their openheartedness, generosity and kindness belie the experiences that brought them to the project. Their beautiful artwork is testament to their capacity for love and work. Not only did they share their experiences with me, they did so in the hope that their participation would also contribute to a better life for others who share a similar experience. I thank each and every one from the bottom of my heart: Melissa Manuel, 6
Simone White, Fur, Anne S, Glynis Evans, Diane H, Kathy, Leonie McCausland, Tanya Bates, Jane, Deb N, Vivien, Reyes, Jen Barthelot, Peaches Angelico, Emma, Meghan, Karen, Molly, Kay Morton, Theresa, Beth, Julia Baker and Jay 2005/46. I acknowledge and thank my supervisors, Associate Professor Jenny Sharples and Associate Professor Michele Grossman, for their openness to the project and their many contributions to it. Studio and community artwork and a PhD are, like a child, raised by a village. I thank some in mine: Kate Gifford, Pip Stokes, Catherine Acin, Nicola McClelland, Gali Weiss and Suzanne Sandow, sensitive, perceptive artists who have helped shape and nourish this work; my family, particularly my sisters Rosemary Briggs and Christina Robinson, who, among others, read and commented on the written work with care; Maria Brosnan, who offered much encouragement to research creative practice, and Elizabeth, Paul and Mark; Janet Inglis, my steadfast and wonderful friend of 30 years; Ward Adams at Celsius Glass for his generous advice and help with the glass pieces; Dr George Halasz for his interest and sage commentary, and especially for his insightful and inspirational talk given at the opening to my exhibition; Rebecca Lovitt, curator Southern Health; and Jenni Newman, whose gentle yoga contributed much to my own wellbeing. Finally, I acknowledge and thank my dear, kind and gentle partner, Jyoti Mukherjee, who emerged from the shadows of his own profound loss to lovingly support me in this work. Anne Riggs 7
Page 1 and 2: THE CREATIVE SPACE Art and wellbein
Page 3 and 4: ABSTRACT This thesis explores the r
Page 5: Impervious spaces .................
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
Page 55 and 56: the familiar and courting the unkno
Page 57 and 58:
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.
Page 215 and 216:
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
Page 249 and 250:
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
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
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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
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
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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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