Art Therapy and Ecology 4

January 17, 2018

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Photos from Top to Bottom: Anya Gallaccio ‘That Open Space Within”, herman de vries ‘Forest Collage’ and David Nash ‘Ash Dome Drawing’

“Movement, change, light, growth and decay are the life-blood of nature, the energies that I try to tap through my work. When I work with a leaf, rock, stick, it is not just material in itself, it is an opening into the processes of life within and around it. When I leave these processes continue.” (Andy Goldsworthy)

Why Art in Nature? The purpose of art making in nature is to experience the natural environment as an outdoor studio and to work with living art materials. It’s an opportunity to explore working with both found natural materials that make marks (i.e. mud, grass, berries, flowers, and charcoal) and to also investigate working with larger sculptural forms that evoke the idea of shelter within forest habitats. Equally, the acts of walking and collecting can be understood as important artistic practices.

Collected objects from nature can be assembled into displays where textures, colours and patterns are highlighted. Since natural materials gradually decompose photography, sketching and writing can be used to document artworks made in the forest. The nature studio offers many experiences to perceive ecology, and to structure these perspectives into a variety of artworks that will explore lines, shapes, dimensions, and patterns found in the natural world. Land Art is an intriguing form of contemporary art which works within a variety of natural environments, transforming living materials into distinct compositions. Nature is unpredictable and constantly changing – these are also the features of environmental art made outdoors within different kinds of habitats.

“I use the world as I find it…A sculpture I’ve made along the way is a sort of celebration of that place, of me being there at that time in that state of mind. It’s a record of that moment in my life.” (Richard Long)

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Photos: Andy Goldsworthy, ‘Sticks in River’ (Top) David Nash ‘Ash, Branch, Cube’ (Below)

What is Land Art? Land art is usually made in relation to a specific landscape or location, using collections of natural materials found on site. Land art can be left within the landscape, to be affected by the elements, or it can be transported into a studio space or gallery. This form of art is subject to change, it is ephemeral subject to decay and the impact of ecological processes including the effects of weather. Land Art can also incorporate walking, as a way of drawing upon the landscape. Walking artists consider forest paths to be like lines of drawing, a way of making one’s mark by foot, or taking a line for a walk. Walking artists Richard Long and Hamish Fulton use collections of words to illustrate their journeys through landscapes. Long uses the term textworks to describe the way individual words can encapsulate the essence of nature walks.

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Photos from top to bottom: Andy Goldsworthy ‘Rowan Leaves with Hole’, Hamish Fulton ‘Rock, Fall, Echo, Dust”, Chris Drury ‘Shimanto River Sphere’, and Richard Long ‘A Line Made By Walking’

I want an intimate physical connection with the earth. I must touch. I take nothing out with me in the way of tools, glue or rope, preferring to explore the natural bonds and tensions that exist within the earth. The season and weather conditions determine to a large extent what I make. I enjoy relying on the seasons to provide new materials. (Andy Goldsworthy)

What Kinds of Natural Materials can be used for Land Art? Charcoal (collected from abandoned campfires), Berries, Grass, Mud, Seed Heads, Leaves, Moss. Pine Cones, Pine Needles, Roots, Weeds, Flowers, Stones, Logs, Bark and Branches

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Photos: A Textwork by Richard Long ‘Day to Day’ (Top) and Patrick Dougherty ‘Childhood Dreams’  (Bottom)

I enjoy the freedom of just using my hands and “found” tools – a sharp stone, the quill of a feather, thorns. I take the opportunities each day offers: if it is snowing, I work with snow, at leaf-fall it will be with leaves; a blown-over tree becomes a source of twigs and branches. I stop at a place or pick up a material because I feel that there is something to be discovered. Here is where I can learn. (Andy Goldsworthy)

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Photos of Art Therapy Bundles, Made from Branches, Felt, Fibre Materials

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Top Photo: Miguel Angel Blanco, ‘Library of the Forest’, nature collections in wooden “book” boxes that are journals of his walking journeys.

The idea of a book being a collection of objects that are ideas, moments of time, a landscape, and movements held within a box vessel, can be a vital medium of artistic practice within art therapy. A walk can be taken alone or accompanied by others, either can become documented as an art therapy journey that involves the surrounding habitat as living studio.  The words of thought and feeling held within the significance of objects selected, illustrate and enact a psychological quest. This is a language of wandering and finding significance in what is close at hand. The book is an installation that can be handled and read in many ways. Time is contained within the dimensions of the book’s architecture. The composition of the book, reveals itself as a structural building, a home place for an ephemeral story.

Websites for Inspiration 

  1. Green Museum The Online Museum of Environmental Art
  2. Women’s Eco Artist’s Dialog
  3. Chris Drury
  4. herman de vries 
  5. Richard Long 
  6. Hamish Fulton 
  7. Patrick Dougherty 
  8. Also Search online for Artist Anya Gallaccio

Materials and Preparation List 

Fully charged camera phone or camera for photography

Sketch book or notebook for drawing, for imprints of natural materials, creative writing, and ideas you wish to take away from the workshop

Pencils and pens, graphite, charcoal or pastels for drawing and writing in sketchbook

Tape for attaching foraged items into sketchbook

Containers or bags for foraged items. These materials can be used for artworks after the workshop.

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Photos: Collections of nature by artist herman de vries

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Photo: A print of a tree trunk and a drawing of a forest walk

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Photos: Ecole du cloitre Vic sur Seille, Les Photos de Marc Pouyet

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Photo: Kriss MacDonald, “My Botanical Desk – Winter Nature Diary” 

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Photos: Shelters Made in a Ravensdale Forest, County Louth

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Photo: Nils-Udo ‘The Nest’

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Photo: Chris Drury ‘Pine Circle, Cone Sphere’

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Photo: Derek Jarman photographed by Terry O’Neill (The Guardian)

Derek Jarman (1942-1994) was an English film director, artist, writer, stage designer and gardener. His garden journals, reflections and nature based artworks are profiled in his book Derek Jarman’s GardenWritten before his death the book crusades the proliferation of personality in every garden, rather than codification and regulation. Out of a shore composed of flint and shingle, and near a nuclear power station in Dungeness, Kent, Jarman created a gardening legacy that acts as a stage for not only his own personal experiences, but a catalyst for the pursuits of others who follow his example. An activist opposed to lawns, garden chemicals and the dictation of order, Jarman encouraged a garden’s anarchy and wild abandon. His garden was without borders and conventions, extending in all directions and inwards to meet the realities of landscapes both human and natural. His home, a restored fishing cottage, became his sanctuary and studio for forays into various forms of contemplation and artistic enterprise. The garden is still today infused with the magic of surprise. “I saw it as a therapy and a pharmacopoeia” (Derek Jarman), its essential nature to assist with the experiencing of life cycles.

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Photo: Derek Jarman’s Garden

“Derek Jarman gave his garden a certain narrative; perhaps he treated it a bit like a film or theatre set. His films were visionary, eccentric, romantic and rebellious, all of which could also be said about his garden. The plants were distinct players in the action…He put wild with cultivated, made art out of rubbish and declared the garden a gallery where nature played the most important part. He sought refuge in his garden, but chose a setting with no boundaries, where everything is an edge: shingle, sea, sun, wind all shifting and changing…It is a weird and wonderful place, but in many ways humble: a small house, a tiny garden, yet the maker showed us all how wild and brilliant our own spaces can be if we’re prepared to look sympathetically at the landscape around us, to make room for the flotsam and weeds in life as much as the jewels.” (Alys Fowler, “Gardens: Planting on the Edge in Derek Jarman’s Garden”, The Guardian, September, 24, 2014

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Photo Source: Gardenista

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Photo Source: Kriss MacDonald, Derek Jarman’s Garden

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Art Therapy and Ecology 3

January 16, 2018

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Photo: An art therapy forest studio, County Louth

A Forest Studio

A forest studio can be foraged for art materials, it can also be the site for installations, walks, photography, writing, sketching, printmaking, journaling, enactments and the making of artist books. Celebrations and gatherings also invite festivity into the forest. 

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Photos: Ravensdale Forest Land Art and Archway Blackrock Forest Garden, Co. Louth

“Sitting in a wilderness [forest] garden you can almost hear the generative power of nature. It is like watching a speeded-up film, when buds uncurl, flowers open and shrubs expand as if by magic. If we were to leave a patch of land free from human intervention – no cropping, mowing, digging or ploughing – it would quickly revert to its natural state…It is this feeling of wild, unfettered energy one seeks to create in a therapeutic garden” (Dondald Norfolk, The Therapeutic Garden)

Forest gardening is a practical means of cultivation, it involves low maintenance in regards to watering and weeding. The forest garden appears chaotic and dishevelled, and yet its layered design is a complex arrangement of companion planting. It is a self-regulating habitat, an ecological system, which benefits both mind and body. “If a garden is to mirror [human] nature it must be varied, irregular, random and wild” (Donald Norfolk, The Therapeutic Garden).

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Photos Top to Bottom: Willow woven hut for children, land art workshop display and willow woven seat in Blackrock Forest Garden and Ravensdale Forest, Co. Louth

A community garden can also be a habitat for art therapy, art and participation, or arts and health. Blackrock Playground Park (Blackrock, Co. Louth) has a dedicated edible forest garden. The garden was originally planted with local environmental volunteers, children and families living around the park. Working with neighbours (of all ages) to cultivate a “commons” or supportive habitat within the pathways of everyday life, an edible forest garden is an example of therapeutic gardening that embraces nature as a regenerating source of well being. Edible wild plants, hedgerow and orchard fruits, herbs, vegetables, medicinal plants and living art materials (e.g. willow for living sculptures, plants for natural dyes, and symbolic plants associated with Irish seasonal traditions) grow together as a large scale public artwork. Not only is the food plentiful, its design is self sustaining, engaging itself in its own reproduction and fertility.

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Photo: Blackrock Forest Garden, County Louth

“Many gardening words and expressions illustrate how steeped the language of cultivation is in the vocabulary of personal growth and nurture…transplanting, uprooting, flowering, blossoming, digging deep, grounded, putting down roots, cutting back, branching out, growing new shoots, shedding, weeding out…”

Quotation from Sonja Linden and Jenny Grut, The Healing Fields: Working with Psychotherapy and Nature to Rebuild Shattered Lives 

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Photo: A family artwork for Samhain, Blackrock Forest Garden, County Louth

“The range of art materials available from an outdoor art therapy studio invites perceptive stimulation and can be combined with more commonly used art therapy materials in either indoor or outdoor settings. Land-sourced art materials (e.g. soil, clay, stone, sand, seaweed, shells, weeds, charcoal, ash, water, grasses, pine cones, pine needles, roehips, seeds, flowers, ferns, nuts, lichen, [moss], mud, bark, herbs, leaves, berries, and edible plants), along with landscape-inspired fibre arts materials (e.g. wool, felt, thread, handmade paper, beeswax, fleece, and natural fabrics), and construction materials for installation spaces (e.g. wood, branches, and straw bales) all invite imaginative responses that add to the participation evoked by more traditional art therapy materials…

Land sourced art materials, fibre art materials, and construction materials can extend the textures, dimensions, and sensations gained from more frequently used art [therapy] media. For example, paint, glue, clay or melted beeswax can be combined with leaves, pine needles, grasses, seeds, rosehips, or flower petals. Paper can be marked with mud, charcoal, soil, ash, [pollen, flower pigments], and berry juices…Pinecones, dried herbs, flowers, and leaves can be strung together and suspended from an indoor ceiling or used to embellish an outdoor den, or even worn draped across the body. Mud, dirt, berry juices, and charcoal can “paint” the skin for use in art therapy enactments, with the pigments of these materials colouring the body canvas.”

(Quotation from Pamela Whitaker, “Groundswell: The Nature and Landscape of Art Therapy” in Materials and Media in Art Therapy: Critical Understandings of Diverse Artistic Vocabularies by Catherine Hyland Moon)

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Photo: Grand Canal Dock, Dublin

References for Art Therapy and Nature

Green Studio: Nature and the Arts in Therapy by Alexander Kopytin and Madeline Rugh (Editors), Nova Publishers

Nature-Based Expressive Arts Therapy: Integrating the Expressive Arts and Ecotherapy by Sally Atkins and Melia Snyder, Jessica Kingsley Publishers

Environmental Arts Therapy and the Tree of Life by Ian Siddons Heginworth

Environmental Arts Therapy Website by Ian Siddons Heginworth

“Taking Art Therapy Outdoors: The ‘Greening’ of Art Therapy Practice” by art therapists Vanessa Jones and Gary Nash, BAAT Newsbriefing, July 2017. Contact Vanessa Jones and Gary Nash at the London Art Therapy Centre, where they teach a course called Environmental Arts Therapy Training with drama therapist Ian Siddons Heginworth. They also offer introductory level courses. Courses are held on weekends in London parks and woodlands. London Art Therapy Centre

The Healing Fields: Working with Psychotherapy and Nature to Rebuild Shattered Lives by Sonja Linden and Jenny Grut

The Healing Forest in Post-Crisis Work with Children: A Nature Therapy and Expressive Arts Program for Groups Ronen Berger and Mooli Lahad, Jessica Kingsley Publishers

The Nature Therapy Centre by Ronen Berger

The Therapeutic Garden by Donald Norfolk, Bantam Press

“Groundswell: The Nature and Landscape of Art Therapy” in Materials and Media in Art Therapy: Critical Understandings of Diverse Artistic Vocabularies by Catherine Hyland Moon

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Photo: An art therapy forest studio, County Louth

Community Gardening: Cultivating an Art Therapy Studio

Benefits to Wellness

  • Skill Sharing and Learning among Peers
  • Collaboration, Mentoring, Teamwork
  • Social Interaction
  • Achievement and Self Esteem
  • Cultivating nature, Enhancing the World for Oneself and Others
  • Working with symbols of Regeneration (Growth) and Cycles of Change
  • Physical release of Tension and Stress
  • Pride of Place, Making a Difference in the World
  • Mind Wandering and Reverie in Gardening and Aesthetic Experience enhances Cognitive Flexibility for Problem Solving
  • Soil bacteria Mycobacterium vaccae releases Serotonin to Decrease Anxiety and improve Cognitive Functions, Enhance Mood and Coping Abilities.
  • Foraging and Harvesting assist in the release of Dopamine which may promote  Energy and Enthusiasm.

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Photo: Artist Susan O’Malley, A Healing Walk, commissioned by the Montalvo Arts Centre, Saratoga California

Art Therapy and Ecology 2

January 15, 2018

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Photo: Pamela in her garden

“For most people, art has nothing to do with ecology, or our relationship with environment…Yet ecology, or environment, is where we live, where all life lives – it is where cultures lives, where the arts and human endeavor lives, since culture also cannot be outside the world.” (Beth Carruthers, “Art, Place and the Meaning of Home,” Essay for the Vancouver Parks Board).

In his book An Ecology of Enchantment, Canadian gardener Des Kennedy has written that “a garden is a work in progress, an artistic exercise that’s never finished, but at every stage of its existence stirs with the excitement of the creative process. The notion of the gardener as a pilgrim denotes a journey of discovery, of learning as we go. Gardening is the chance to live in touch with the earth, to find ourselves within its seasonal turnings, and to truly appreciate the extraordinary beauty of each ordinary day”.

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Photo: Shelter made in Ravensdale Forest, Co. Louth

“The natural world is a vital and alive medium for art therapy…The outdoors can be experienced as a signifier for the extension of therapeutic practice into the world at large. The use of gathered, rather than bought, art materials fosters a sensing of one’s way through tactile exploration. The outdoor landscape offers a nomadic sense of exploration and spontaneity, mediated by surroundings that are not predetermined by function. This exterior space can offer the potential for rambling and gathering, a place for physical immediacy within many spatial dimensions that stimulate creative investigations. ..The reverie encountered when working within a natural landscape challenges one to view art therapy not as the creation of images, but rather as an overall experience of assembly…In this context, subjectivity relates to a natural terrain that is continually in flux, a mirroring of one’s own nature in motion amid changing circumstances”

(Quotation from Pamela Whitaker, “Groundswell: The Nature and Landscape of Art Therapy” in Materials and Media in Art Therapy: Critical Understandings of Diverse Artistic Vocabularies by Catherine Hyland Moon)

Inspiration for Outdoor Studios with Applications for Art Therapy

Sharon Kallis 

“Sharon Kallis is a Vancouver artist who specializes in working with unwanted natural materials. Involving community in connecting traditional hand techniques with invasive species and garden waste, she creates site-specific installations that become ecological interventions” (New Society Publishers, Author Description). She works with a “one-mile diet” approach to sourcing materials that are freely available and close at hand.

“In community outdoor work, my creative process begins with a harvest principal that embraces communal stewardship of the land; weeding, invasive species removal, coppicing, gleaning and gathering. Oral traditions of knowledge sharing occur; my own experience with plants and their uses are exchanged with those familiar to a place through close investigation of the surroundings, walking, sharing stories about the landscape and observed shifts in eco-systems. Installation ideas spring forth through conversation, idea sharing, identifying what materials are suitable for harvest and the consideration of the inherent physical properties of both place and material used.”

Sharon Kallis has written a book called Common Threads: Weaving Community Through Collaborative Eco-Art.

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The East Hand Gleaners Society in Vancouver is a collective of artists who work with art, ecology and place. The word “gleaner” means to “gather something slowly and carefully in small pieces” (https://www.vocabulary.com/dictionary/gleaner).

“By working with the plants around us using ancestral skills common to all cultures, we inspire participants to discover cultural connections, learn new skills, and discover novel sources of raw materials for creative practices, including garden waste, invasive plants, and textile waste.”

Oliver Kellhammer 

“I take biological systems and I remix them. In the way a DJ would remix music, I remix ecosystems and plants” Oliver Kellhammer 

“Oliver Kellhammer is an ecological artist, educator, activist and writer. Through his botanical interventions and public art projects, he seeks to demonstrate nature’s surprising ability to recover from damage. His work facilitates the processes of environmental regeneration by engaging the botanical and socio-political underpinnings of the landscape.”

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Oliver Kellhammer, Means of Production Garden, Vancouver

Artist Statement

“I am interested in exploring the processes of ecological regeneration in the wake of human disturbance, either through passive field observation (what can I not do?)… or by actively engaging the biological and socio-political processes that inform these landscapes by attempting to improve their relationships with each other. The latter approach often takes the form of what I call botanical interventions, whereby I employ horticultural techniques to mitigate problems between people and the landscape, enhancing both the sense of place and the ecological carrying capacity of a given site, as well as addressing such problems as erosion, food availability and the lack of local agency over the design of urban spaces.”

Perhaps we can afford to give up a little control to let this second ‘nature’ take its course. We’ll need to learn to tolerate a few weeds, a little uncertainty and a little mess, but we might just learn something” Oliver Kellhammer

The Means of Production Garden, Vancouver 

The Means of Production Garden in Vancouver grows living art materials for use by artists and community groups. Founded by artist and activist Oliver Kellhammer and the Environmental Youth Alliance in Vancouver (with land supplied by the Vancouver Parks Board) it offers “open source” resources that are harvested for “community creative use.” Kellhammer believes than an open source landscape encourages experimentation with botanical materials and an investigation into art and ecology.

There is willow for sculptures, flax growing for linen, plants for natural dyes, and foraged natural materials for weaving and fibre arts. Skill sharing, social gatherings, artist residencies and celebrations prevail within this artists’ garden. Kellhammer’s philosophy regarding open source landscaping encourages nature to enter the urban world in unpredictable ways. Kellhammer also believes that self-seeding trees, flowers, and weeds erupting along the edges of urban areas, may also stimulate experiments in community living.

The Means of Production garden is a living art installation. It is a gathering place for community, and an ecological art form. According to Kellhammer it is a biological intervention Inspired by Nicolas Bourriaud’s Relational Aesthetics which encourages the practice of art within social environments,  Kellhammer’s living art acts as an event, and ecological improvisation. Curating gardens as art projects, can develop gathering spaces for spontaneous interactions. Gardens themselves are unpredictable happenings, where irregular growth cycles, weeds, decay, and weather all influence ever changing conditions. Gardens can be both public art forms and places/acts of environmental and community activism.

 Common Ground 

Common Ground is a charity, based in Dorset, UK that explores the relationship between nature and culture,”seeking imaginative ways to engage people with their local environment.”

Common Ground “plays a unique role in linking nature and culture, working to inspire, inform and involve people in learning about, enjoying, and taking more responsibility for their own locality. We champion popular involvement and inspire celebrations as one starting point for local action to improve the quality of ordinary places and everyday lives” (Common Ground, “ABC: Learning to Read Your Locality,” brochure)

Local Distinctiveness

Local distinctiveness is “the web of rich understandings between people and their land and their histories, it is not about scenery, it takes us below the surface, to where the land might reflect back to us purpose and belonging. Sometimes we forget that our everyday surroundings are nature’s greatest reservoir, history’s biggest book…By focussing attention on significance in our surroundings and helping build courage to be demonstrative and to take action on attachment to place, then perhaps we can make our surroundings better for nature as well as daily life” (Common Ground, “ABC: Learning to Read Your Locality,” brochure)

“We sometimes forget [that we live in] a cultural landscape.”

“Local distinctiveness is essentially about places and our relationship with them…Places are process and story as well as artefact, layer upon layer of our continuing history and nature’s history intertwined…Meaning is entrapped in the experience of change [and] symbolism and significance cling to seemingly ordinary buildings, trees artefacts…

“Locality needs to be defined from the inside, with a cultural and natural base…”

“We are talking of quality in the everyday…[which] involve[s] emotional attachment…”

(Quotations Above, from “Losing Your Place” an article by Sue Clifford and Angela King in a book produced by Common Ground called Local Distinctiveness: Place, Particularity, and Identity)

 

Art Therapy and Ecology 1

January 7, 2018

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Photo: Mud and gold paint 1

Ecology Definitions:

1. The study of the relationships between living organisms and their environment.

2. The set of relationships of a particular organism with its environment.

3. The study of the relationships between human groups and their physical environment.

(Source: Collins Dictionary Online)

Workshop Information for MA Students in Art Therapy, Crawford College of Art and Design, Cork Institute of Technology

Groundswell is a social enterprise that works in the areas of art therapy, organic horticulture, environmental education, arts and health, and art and participation. 

“The environmental practices of Groundswell are aimed at developing biodiversity habitats combining…[edible plants], herbs, fruits, wildflowers, and indigenous trees. This method of networking domestic and ecological territories facilitates a consideration of both the cultivated and wild landscapes in which we live, engendering an appreciation for relationships between nature and culture as contexts for daily living. For example, gardens can generate an interest in both the productive and creative aspects of horticultural growing. They are cultural spaces that reflect interactions between human nature and ecology. Making art within a natural setting expresses themes related to growth, decay and processes of change, as well as cultural traditions associated with different seasons of the year. Groundswell links people, ecology, and place…The natural world’s aliveness and diversity illuminate the potential for artistic exploration that unites the materiality of the natural world with the materiality of the human condition…infusing art therapy with new frontiers of accumulative creation.”

(Quotation from Pamela Whitaker, “Groundswell: The Nature and Landscape of Art Therapy” in Materials and Media in Art Therapy: Critical Understandings of Diverse Artistic Vocabularies by Catherine Hyland Moon)

Making a Scene in Public: Art Therapy and Ecology Workshop 

This workshop for art therapy students at the Crawford College of Art and Design will explore the creation of land art within the nature of public spaces. Working with found and natural materials in outdoor studio areas, artworks will relate to both personal and collective themes. Therapeutic situations will be encountered en route through the examination of outdoor habitats. We will consider how art therapy can be choreographed through spontaneous relations with environment. Artworks will be both site specific and portable, assembling ingredients of location in an attempt to enact the energies of participants with the character of place.

Workshop Themes

Art Therapy Out of Bounds
Social Environments
Land Art
Enactments
Choreography of Space
Therapeutic Situations
Habitats
Conditions of Nature
The Artistry of Location

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Photo: Mud and gold paint, 2

Editorial Quotations, Art Therapy and Environment, Canadian Art Therapy Association Journal.

Whitaker, Full Editorial, Art Therapy and Environment

A Natural Response to a Natural Disaster by Jess Linton (free access until March, 2018)

“An art therapy environment is both an art form and a place of production.”

“Art therapy environments are ecologies that produce particular conditions for creation.”

“Environment is not neutral.”

“The surroundings of art therapy are the starting point.”

“Art therapy can craft habitats.”

“Art therapy can find its place within social environments and form a sense of locality or residency within society on the move.”

“Art therapy’s environment is more than the boundaries of a frame. It can be an encounter, a happening, or a situation in the making.”

“The totality of an art therapy location can be a physical environment for art.”

“An art therapy environment is not a background, but the scene for experiences in the making.”

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Photo: Mud and gold paint 3

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Photo:  A Rudolf Steiner (Waldorf) school inspired nature table at Dublin Parking Day

Dublin Parking Day

“We are turning car parking spaces into public parks, games or art installations for one day every year. Park(ing) Day is intended to promote creativity, civic engagement, critical thinking, unscripted social interactions, generosity and play.” http://www.dublinparkingday.org

“The idea of dwelling takes into account processes of working with materials and not just doing something to them, and of being part of the emergent processes of bringing something into being. The studio [is] not a rigid place, a container for creative acts and materials, but an emergent space.”  Encounters with Materials in Early Childhood Education by Veronica Pacini-Ketchabaw, Sylvia Kind and Laurie L.M. Kocher

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Photos: A playground for children not a space for cars. The Bloom Fringe Parking Day area for young children taking to the street.

Children should be part of life on the street. Spaces for art, toys, games and a chance to wander off the sidewalk. What a difference curb side entertainment makes to a city for people of all ages! Stepping beyond the boundaries, making street art, and being at the centre of it all. This is what we all want, and young children show us how its done. 

tumblr_owmk7p6LMK1rwq4xwo1_1280.jpgPhoto: Dublin Parking Day website, http://www.dublinparkingday.org

The Bloom Fringe Festival developed an interactive parking space for children on Dublin Parking Day. Bloom Fringe is a series of events and workshops aimed at greening urban Dublin. Its goal “is to celebrate biodiversity and sustainability, encouraging and inspiring people to use their city more by bringing together communities, artists, performers, professionals, enthusiasts and free thinkers” (www.bloomfringe.com).

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Photo: Photo: Dublin Parking Day website, http://www.dublinparkingday.org

 

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Rhiannon Armstrong (www.rhiannonarmstrong.net) is a performance artist, who recently facilitated public self-care experiences for participants at the Dublin Live Art Festival, 2017.

“After three years of being invisibly disabled with chronic migraine – a condition that forced Rhiannon to wear sunglasses indoors, or lie down in the street, Public Selfcare System is a work in which Rhiannon self-identifies as an expert at the durational performance of thriving in a world that is geared against her survival. Public Selfcare System is a one-to-one performance, part direct action, part masterclass in the radical act of stopping.” (Dublin Live Art Festival 2017, Public Selfcare System Information Flyer)

“I am an expert in resting in public thanks to a neurological condition that forces me to lie down wherever I happen to be, and stay there until I am well enough to get up again. In order to carry on living we may all have to learn to stop in the middle of the street, in the middle of the day, and rest. Get ahead of the curve, get your training in now.” (Rhiannon Armstrong)

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Photo: http://www.rhiannonarmstrong.net

Taking time to stop and lie down on the stone pavement of a public thoroughfare, an interlude of rejuvenation for myself and participants in the performance of Public Selfcare. Each person is held with reassuring words and the touch of Rhiannon’s hand. The public element is forgotten within the space of two people being together on the ground, equals taking a breather from activity. This is a performance of empathy, solidarity and companionship. The simplicity of a time-out amidst the activeness of daily life. The art of just being there, together and then alone within the occupation of space and self. A performance of responsibility, a gift to passersby who see what’s not happening, who are perhaps reminded to approach the stillness within themselves. What I take lying down is confirmation of my right to be inattentive.

“Come with me to a place you may have seen, walked past, but never been to. We are going to lie down and have a rest: I will look out for you and look after you. You have right to be here, you have a right to do this. We can do it together.” (Rhiannon Armstrong)

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Photo: www.rhiannonarmstrong.net

dublin live art festival

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Photo: A traditional May Bush in Ireland, placed at the boundary of a farm or home on May Day (May 1st) and kept in place throughout the month of May. The May Bush is a symbol of protection and good luck for the growing season during the Celtic festival of Bealtaine (the beginning of summer).

The Canadian Art Therapy Association Journal has produced a special issue entitled Art Therapy and Environment. 

In this issue environment is defined broadly and includes compelling and thought provoking articles from Canadian and international art therapists and allied professionals.

 

Articles

Art Therapy and Environment Editorial 

Art Therapy Caves: Linking Community Art to a Therapeutic Space by Cora H. McLachlan

Global Action Art Therapy: Cross-Cultural Experiences in South Korea by Seung Yeon Lee

Garden as Canvas: Therapeutic Metaphors in a Children’s Garden by Carol Knibbe & Petrea Hansen-Adamidis

A Natural Response to a Natural Disaster: The Art of Crisis in Nepal by Jess Linton

The Flowers of Compassion: A Trauma-Informed Artistic Event Involving Three Generations of Slovenians by Katarina Kompan Erzar

Access to the CATA Journal

 

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Photo Credit: Sandra Noeth

Sandra Noeth is a dramaturge, cultural scholar and curator based in Berlin.

Her research interests include “integrity and protest in relation to the human body,” the connection between aesthetics and politics, and “bodies in bordering situations” (CREATE Ireland + Dublin Dance Festival).

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Photo Credit: Siobhan Davies Dance and Dublin Dance Festival

As part of her residency with Dance Limerick and Dublin Dance Festival Sandra Noeth showcased her ideas involving movement and environments. She asked these questions: “How might physical and choreographic strategies represent, implement, legitimise and rehearse social and political action?” and “How do empathy, presence, improvisation or compositions inform the experience of borders?” (Dublin Dance Festival Programme)

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Photo Credit: The World Atlas of Street Art by Rafael Schacter. Artists: David Renault and Mathieu Tremblin

Movement is integral to art production, the making of place and composing identity in relation to social and political environments. Art therapy involves the art of movement, and can contribute to an understanding of aesthetics and politics. An examination of borders is part of art therapy – making lines demarcating personal distinctions and demonstrating the crossing-over into new areas of discernment. Art therapy can also inform protests that are both personal and socially informed.

Art therapy marks out routes of passage within a designated space, it can design sequences of movement and denote a body in motion. Compositions on the move, explorations of environment, and art influenced by context that simultaneously re-imagines space according to somatic knowledge.

The art therapy studio can also include the world-at-large.

Art therapy contributes to civic dialogue – art therapy asking complicated questions about expression and representation in civil society.

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“I am currently working both as a curator as well as an academic researcher on understanding the role, status and agency of the body in bordering processes. I am looking at different experiences of borders and boundaries – national and geopolitical, architectural, material and built borders, as well as more symbolic, imagined, social, gender-related ones. They are very often negotiated through the body, through movement, physicality and performativity. And I question how the body, how movement-based strategies can inform us about these processes. How for example practical and theoretical knowledge from dance and choreography, how composition and improvisation, embodiment or somatic modes of attention, rhythm and affects might help us understand the experience of bordering but also how borders are staged, aestheticized, rehearsed, represented, and ultimately legitimised maintained or challenged”

(Sandra Noeth Quotations, from CREATE (National Development Agency for Collaborative Arts, Ireland), News/May 2017, Sandra Noeth on “Bodies, Borders and Movement” an interview with Deirdre Mulrooney)

Either Way, Make a Move

March 6, 2017

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Photo: Hazel Meyer, Hyper-Hyper (Artist in the Classroom, The Pedagogical Impulse)

A Workshop for the School of Arts Education and Movement
Dublin City University, Institute of Education

Pamela Whitaker, Groundswell

  • Classroom as Art Studio
  • Teaching as Performance
  • Teacher and Students as Artist Collective
  • Social Choreography in School
  • Students as Curators
  • Education as a Happening 

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Photo: Art Out Loud, Basement Gallery, Dundalk

I am interested in the theme of choreography, and how students can generate movement motifs through interacting with objects and words that stimulate physical actions and movement responses. Choreography is a change of space, new ways of going, and actions taking shape.

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Photo: The Medieval Garden Challenge

Dance and Movement Benefits Children’s Physical Development, Emotional Expression, Social Awareness, Cognitive Agility, Mental Health, Communication

The classroom as an artwork can inspire movement, creation and also a disruption of ‘order’ (Stephanie Springgay, 2014). We will explore lines of connection between different spaces in a classroom, and develop routes of movement that interrupt expectation. We will be unconventional, in the moment, and attention seeking. Words, situations, and objects will move us on.

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Photo: Art Out Loud, Basement Gallery, Dundalk

The classroom as a happening is about animated learning. A situation is created whereby students re-define their educational surroundings. It is subject to flexibility. Art in this sense is related to environment, an atmosphere, and a studio of ideas. Happenings were first introduced by the artist Allan Kaprow. They are experiences where art, physical action, sound, words and environment are assembled within a specific time frame to promote participation and improvisation.

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Photo: Graffiti Inspired Movement in a Pedestrian Tunnel

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Photo: The Medieval Garden Challenge

“SOCIAL CHOREOGRAPHY engages everyone’s perception and knowledge of….[movement]…inquiring if and how individuals can imaginatively order and re-order aspects of their personal, social, cultural and political lives.” Michael Klien, The Institute of Social Choreography

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Photo: Sophie Nüzel, http://www.sophienuezel.com

Stephanie Springgay is an Associate Professor in the Department of Curriculum, Teaching, and Learning at the Ontario Institute for Studies in Education, University of Toronto. She considers a classroom a work of art.

As an experimenter, the artist-teacher does not mold students into a work of art, as if the students simply become raw materials. Rather artist-teacher-student-classroom become a creative assemblage filled with the potential to open itself to future creative instances. If a classroom operates as a work of art, not as an object manipulated from the outside, it becomes enmeshed and enlived. A “classroom as a work of art,” we argue, re-conceptualizes the artist-teacher as productively co-mingling with students and space. Stephanie Springgay, The Pedagogical Impulse, www.stephaniespringgay.com

All the listings below are links to Springgay articles:

The Pedagogical Impulse: Aberrant Residencies and Classroom Ecologies

The Pedagogical Impulse: Research-Creation at the Intersection Between Social Practice and Pedagogy

How do you make a classroom operate like a work of art? Deleuzeguattarian methodologies of research-creation

Cloth as Intercorporeality: Touch, Fantasy, and Performance
and the Construction of Body Knowledge, International Journal of Education and the Arts

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Photo: Landmarks: Nature, Art, Schools Workshops in County Louth

image-5.jpgPhoto: School of the Art Institute of Chicago, Art Therapy Classroom Installation

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Photo and Article Link: Teaching with Contemporary Art in the Classroom by Joe Fusaro

 

“American artist Sheila Hicks has redefined the role of fibre in art and influenced a generation of contemporary artists with her interdisciplinary visual language.’ (Sheila Hicks, Material Voices, Textile Museum of Canada, October 6, 2016-February 5, 2017).

 

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In 1964 when I was leaving  Mexico, I had to pack compactly because I had accumulated many things and of course many things that I should have just thrown away, but I thought I want to take them with me. How am I going to manage? So I began compacting in the packing. My daughter’s clothes that she no longer wore; she was only four or five years old but she had outgrown a lot of things. I didn’t want to lose them. Bits and fragments of textiles I had been collecting in Mexico, but didn’t have any particular use for…As I started to wrap them it was intriguing to be able to add colours and threads and thoughts and memories together. And I also knew that if I could remember which one was which one I could unwrap it in case I wanted to unwrap it someday. So that is how this began, this process of wrapping memories and wrapping relics, things like little memory balls. (Sheila Hicks, Material Voices Exhibition, Textile Museum of Canada)

Sheila Hicks http://www.sheilahicks.com