CONTEXTUAL UNDERTANDING, ART AND MENTAL

ILLNESS:

Developing a methodology for the understandings of “artist” held by a person diagnosed with a mental illness.

Karleen Gwinner

RESEARCHERS POSITIONI am a visual artist with a history and relationship with the community arts movement in Australia

I have undertaken a range of projects that engage art as a potential for social and community change and towards a stronger sense of ourselves.

Over the last decade one of the key areas in my work as an artist and cultural development worker has been providing community cultural development programs within hospital and community environments for people experiencing mental illness.

I am a visual artist with a history and relationship with the community arts movement in Australia

I have undertaken a range of projects that engage art as a potential for social and community change and towards a stronger sense of ourselves.

Over the last decade one of the key areas in my work as an artist and cultural development worker has been providing community cultural development programs within hospital and community environments for people experiencing mental illness.

Art practice as research invokes a methodology that is premised on the need to 'create and critique' it opens up the possibility of self-realization and understanding, and an educational

purpose that has a social utility (Sullivan, 2006) .

I am both community insider as an artist, with extensive experience working within mental health care, and an outsider as the researcher observing the participation and as someone who does not have a mental illness, and has not been labeled within an illness perspective.

Art practice as research invokes a methodology that is premised on the need to 'create and critique' it opens up the possibility of self-realization and understanding, and an educational

purpose that has a social utility (Sullivan, 2006) .

I am both community insider as an artist, with extensive experience working within mental health care, and an outsider as the researcher observing the participation and as someone who does not have a mental illness, and has not been labeled within an illness perspective.

THE CONCERN OF THIS RESEARCH

Today I am presenting a multi-layered qualitative research, designed to uncover the understanding of artist held by a person diagnosed with a

mental illness.

Central concepts of this research are the opportunity for the individual with a mental illness to claim a social

space and a sense of control in the role of an artist;

to examine the alterity of mental illness and the role art plays towards the individual 'outsider' expressing their self, and in claiming a social position constructed on the experiences of the artist and not on the

experiences of the patient.

The design is guided by qualitative methodologies to explore the subjective experiences of individuals and consider community

processes.

Today I am presenting a multi-layered qualitative research, designed to uncover the understanding of artist held by a person diagnosed with a

mental illness.

Central concepts of this research are the opportunity for the individual with a mental illness to claim a social

space and a sense of control in the role of an artist;

to examine the alterity of mental illness and the role art plays towards the individual 'outsider' expressing their self, and in claiming a social position constructed on the experiences of the artist and not on the

experiences of the patient.

The design is guided by qualitative methodologies to explore the subjective experiences of individuals and consider community

processes.

IMPLICATIONS OF THE METHODOLOGY Key implication for this research

to highlight and evaluate creative activities and notions of recovery in mental illness;

to emphasise the perspective of the individual with a mental illness surrounding personal and social potential, and sense of well-being.

The predominant framework for studying mental illness is the language of psychiatry.

The medical model exists within an inflexible process of identification, deduction and treatment, with doctors holding the power of communication as the most powerful professionals within the mental health field (Busfield, 2000).

Key implication for this research

to highlight and evaluate creative activities and notions of recovery in mental illness;

to emphasise the perspective of the individual with a mental illness surrounding personal and social potential, and sense of well-being.

The predominant framework for studying mental illness is the language of psychiatry.

The medical model exists within an inflexible process of identification, deduction and treatment, with doctors holding the power of communication as the most powerful professionals within the mental health field (Busfield, 2000).

HUMAN RIGHTS PERSPECTIVE

• anti-pysch movement– (Goffman, 1968; Sazsz, 1972 )

• citizenship (Gilbert,Cochrane, Greenwell, 2005)

• Burdekin 1993 & Richmond Report1983 (Ozdowski, 2005)

HUMAN RIGHTS PERSPECTIVE

• anti-pysch movement– (Goffman, 1968; Sazsz, 1972 )

• citizenship (Gilbert,Cochrane, Greenwell, 2005)

• Burdekin 1993 & Richmond Report1983 (Ozdowski, 2005) TREATMENT METHODS MENTAL ILLNESS

• asylum to community (Rosen, 2006; Savy, 2005)

• deinstitutionalization (Castel et al., 1982)

• medical model(Ragins, 2004;Rehin 1968)

• psychosocial model (Lipsey& Wilson, 1993; Pepper, 2005)

TREATMENT METHODS MENTAL ILLNESS

• asylum to community (Rosen, 2006; Savy, 2005)

• deinstitutionalization (Castel et al., 1982)

• medical model(Ragins, 2004;Rehin 1968)

• psychosocial model (Lipsey& Wilson, 1993; Pepper, 2005)

RECOVERY FRAMEWORK

• absence of symptoms/ cure (Whitwell, 1999; Ragins,2004)

• new meaning & purpose (Pearson, 2004).

• notions of wellness (Frese, Griffiths, Drake, 2005; Ralph, Lambert, et al. 2002 )

• consumer/survivor movement activism (Johnstone, 2002; Barker, 2003; Pearson 2004)

• consumer participation (Meadows, Singh, Burgess, & Bobevski, 2002)

RECOVERY FRAMEWORK

• absence of symptoms/ cure (Whitwell, 1999; Ragins,2004)

• new meaning & purpose (Pearson, 2004).

• notions of wellness (Frese, Griffiths, Drake, 2005; Ralph, Lambert, et al. 2002 )

• consumer/survivor movement activism (Johnstone, 2002; Barker, 2003; Pearson 2004)

• consumer participation (Meadows, Singh, Burgess, & Bobevski, 2002)

LABELING – STIGMA STRUGGLE

• concept of identity (Roberts, 2000; Castells, 1997; Craib, 1998; Kroger, 2000)

• labelling by psychiatrists (Brdefield, 2002; Hall, 1996)

• powerlessness (Joseph-Kinzelman, 1994; Susko,1994)

• social/ cultural implications (Rorty, 2000; Corrigan, 2000)

• experience of Alterity (Welz, 2000)

LABELING – STIGMA STRUGGLE

• concept of identity (Roberts, 2000; Castells, 1997; Craib, 1998; Kroger, 2000)

• labelling by psychiatrists (Brdefield, 2002; Hall, 1996)

• powerlessness (Joseph-Kinzelman, 1994; Susko,1994)

• social/ cultural implications (Rorty, 2000; Corrigan, 2000)

• experience of Alterity (Welz, 2000)

MENTAL ILLNESS EXPERIENCE• impact of illness (Lester & Tritter, 2005)

• impact of medical treatment (Bjorklund, 1996)

• social and economic discrimination (Byrne, 2000) • changed identity (Gofman, 1963;Figlio, 1982; Frank, 1991, 1995)

MENTAL ILLNESS EXPERIENCE• impact of illness (Lester & Tritter, 2005)

• impact of medical treatment (Bjorklund, 1996)

• social and economic discrimination (Byrne, 2000) • changed identity (Gofman, 1963;Figlio, 1982; Frank, 1991, 1995)

CONTEXTUALISING MENTAL ILLNESS

THE THINKING FRAMEWORKThis research is guided by methodological interpretations to explore experiences and the meanings of those experiences, by people with a mental illness who wish to claim an identity as “artist”.

A theoretical perspective grounded in meanings implicit the lived social experience and in the struggle against structured oppression towards an emancipation of the labeling processes of mental illness.

Labeling and social identity theories are adopted towards unveiling the underlying struggles of a person diagnosed with a mental illness.

Artistic inquiry via qualitative methodologies opens up the space among the artists, artwork, and the situation to explore different interests and perspectives.

This research is guided by methodological interpretations to explore experiences and the meanings of those experiences, by people with a mental illness who wish to claim an identity as “artist”.

A theoretical perspective grounded in meanings implicit the lived social experience and in the struggle against structured oppression towards an emancipation of the labeling processes of mental illness.

Labeling and social identity theories are adopted towards unveiling the underlying struggles of a person diagnosed with a mental illness.

Artistic inquiry via qualitative methodologies opens up the space among the artists, artwork, and the situation to explore different interests and perspectives.

ALTERITYThe theme of Alterity is a central theme in my research.

“Alterity" is the process by which we define some people as included, others as excluded.

The theme of Alterity is a central theme in my research.

“Alterity" is the process by which we define some people as included, others as excluded.

ALTERITY IN CONTEXT

The alterity of mental illness is marked by an explicit and conscious attempt to distinguish the individual with a mental illness into a stigmatised “group” and to withhold from the stigmatised “group” rights and privileges routinely available to others.

The laws, values, social customs and culture of society reflect the well-established

prejudices constructed around the person with a mental illness.

As an artist the person with a mental illness is labeled “Outsider” by the institutions

and historical context in which the construct of aesthetics has been fixed.

The aesthetic of the artist with a mental illness as patient-artist maintains a relationship as an adjunct to clinical practice, the audience assumes that the art object

is ‘oblivious” in a cultural as well as a psychological sense.

The positioning of the artist with a mental illness as being different and isolated from culture and community ignores the individual’s attempt to construct and manage their

own identity.

“I definitely feel that I am outside the gallery sort of like space.”

The alterity of mental illness is marked by an explicit and conscious attempt to distinguish the individual with a mental illness into a stigmatised “group” and to withhold from the stigmatised “group” rights and privileges routinely available to others.

The laws, values, social customs and culture of society reflect the well-established

prejudices constructed around the person with a mental illness.

As an artist the person with a mental illness is labeled “Outsider” by the institutions

and historical context in which the construct of aesthetics has been fixed.

The aesthetic of the artist with a mental illness as patient-artist maintains a relationship as an adjunct to clinical practice, the audience assumes that the art object

is ‘oblivious” in a cultural as well as a psychological sense.

The positioning of the artist with a mental illness as being different and isolated from culture and community ignores the individual’s attempt to construct and manage their

own identity.

“I definitely feel that I am outside the gallery sort of like space.”

CCD & PAR

DEVELOPMENT AND ACTIONThe 8 artists in this research are engaged in a process of reflecting on their experiences as artists and a person with a mental illness, producing artwork and a cycle of planning and

mounting an exhibition for critical feedback.

Community Cultural Development (CCD) encompasses cultural activities involving individuals expressing their own stories, engaging in skills-building, and actively developing their culture.

Participatory action research (PAR) is a social research method intended to have both action outcomes and research results in an emergent process.

A vital element of this research is to enable a responsive and investigative process through the production of artwork by the participants from which critical opportunity can be more clearly assessed and addressed (Sullivan, 2006).

The cycles of CCD and PAR projects exist interdependently and follow each other engaged in continual dynamic interactions;

The 8 artists in this research are engaged in a process of reflecting on their experiences as artists and a person with a mental illness, producing artwork and a cycle of planning and

mounting an exhibition for critical feedback.

Community Cultural Development (CCD) encompasses cultural activities involving individuals expressing their own stories, engaging in skills-building, and actively developing their culture.

Participatory action research (PAR) is a social research method intended to have both action outcomes and research results in an emergent process.

A vital element of this research is to enable a responsive and investigative process through the production of artwork by the participants from which critical opportunity can be more clearly assessed and addressed (Sullivan, 2006).

The cycles of CCD and PAR projects exist interdependently and follow each other engaged in continual dynamic interactions;

Reflection

Planning

Action

Observation

MAPPING PARTICIPATION“(I am) trying to get other people to

understand how it feels and to see the struggle and hell I have been through.’

Each artist has committed to active engagement and reflection of the self and the collective group through combinations of in-depth interviews, visual diaries and art-making, observation, and focus group

meetings over a twelve-month process.

How participants and the researcher engage and take on responsibilities during the

research cycles requires negotiation and space for the process to evolve and

knowledge to develop.

“Being part of this research project to me was kind of a way to, that maybe I can begin to

again explore my own true self.”

“(I am) trying to get other people to understand how it feels and to see the struggle and hell I have been through.’

Each artist has committed to active engagement and reflection of the self and the collective group through combinations of in-depth interviews, visual diaries and art-making, observation, and focus group

meetings over a twelve-month process.

How participants and the researcher engage and take on responsibilities during the

research cycles requires negotiation and space for the process to evolve and

knowledge to develop.

“Being part of this research project to me was kind of a way to, that maybe I can begin to

again explore my own true self.”

TWO LEVELS OF ACTIONThe researcher and the participants are involved in two levels of action, those constituted by the qualitative research an activity of investigation being examined on the association of their mental illness &

those associated with the artistic development- art production & a process to curate and organise an exhibition of their work for public viewing

The researcher and the participants are involved in two levels of action, those constituted by the qualitative research an activity of investigation being examined on the association of their mental illness &

those associated with the artistic development- art production & a process to curate and organise an exhibition of their work for public viewing

“I thought, wouldn’t it be nice one day to have a painting in an exhibition and not be an exhibition for this group of mentally ill people. You know just an artist!”

“I want a career, I am beginning to think I can paint.”

“I thought, wouldn’t it be nice one day to have a painting in an exhibition and not be an exhibition for this group of mentally ill people. You know just an artist!”

“I want a career, I am beginning to think I can paint.”

DEPTHS OF REFLECTION

“With regards to the diagnosed artists, and how we are perceived by the community perse, as either gifted savants or tortured, maniacal brush wilders. That yeah, I find that those generalisation don’t really work for me.”

This inquiry undertaken 'in' and 'through' art practice will engage a dual focus for change on a personal level and a social development outcome.

“With regards to the diagnosed artists, and how we are perceived by the community perse, as either gifted savants or tortured, maniacal brush wilders. That yeah, I find that those generalisation don’t really work for me.”

This inquiry undertaken 'in' and 'through' art practice will engage a dual focus for change on a personal level and a social development outcome.

“(here is) a painting i just did....the police on the gold coast shot to death a 26 yr old mentally ill man last week...i think its the 6th time in 4 years this has happened…

and it pisses me off...”

“(here is) a painting i just did....the police on the gold coast shot to death a 26 yr old mentally ill man last week...i think its the 6th time in 4 years this has happened…

and it pisses me off...”

THEMES EMERGE

Ideas and understanding of art in mental illness and Outsider Art are expanding.

“But I hate people who say I know what’s going to cure you, don’t paint those pictures, paint a nice vase for me”.

“That is why I sort of tried to make the distinction it (art) is therapeutic rather than being therapy.”

“Outsider art is art created by somebody who has had no influence by the mainstream art. They have never read a book, never been to a museum, never been affected by other peoples idea of art. But it’s really hard to find an outsider artist these days I think, in the pure sense because we are bombarded by it (art).”

Ideas and understanding of art in mental illness and Outsider Art are expanding.

“But I hate people who say I know what’s going to cure you, don’t paint those pictures, paint a nice vase for me”.

“That is why I sort of tried to make the distinction it (art) is therapeutic rather than being therapy.”

“Outsider art is art created by somebody who has had no influence by the mainstream art. They have never read a book, never been to a museum, never been affected by other peoples idea of art. But it’s really hard to find an outsider artist these days I think, in the pure sense because we are bombarded by it (art).”

SUMMARYContextualization of the experience of the artist with a mental illness takes place by acquiring both verbal and pictorial information, reflection and broadening of the individual experience and sharing to the group, and finally through productive activities where the individual makes art from their understandings and shares it with an audience.

As the cycle of research ends, it is hoped that the rich layers of investigation will expose new layers of understanding into the dimensions of culture, stigma, illness and identity and how these interweave to contribute to the function of art as a tool for a person experiencing a mental illness in their struggle with alterity

Contextualization of the experience of the artist with a mental illness takes place by acquiring both verbal and pictorial information, reflection and broadening of the individual experience and sharing to the group, and finally through productive activities where the individual makes art from their understandings and shares it with an audience.

As the cycle of research ends, it is hoped that the rich layers of investigation will expose new layers of understanding into the dimensions of culture, stigma, illness and identity and how these interweave to contribute to the function of art as a tool for a person experiencing a mental illness in their struggle with alterity

“Being an artist means to me, someone that kind of like a vessel and can create. Wether it is about personal issues, wether it is about community issues, wether it is about global issues, universal issues, spiritual issues umm issues from my past, issues in the present, issues I can see in the future, that is what its all about for me.”

“Being an artist means to me, someone that kind of like a vessel and can create. Wether it is about personal issues, wether it is about community issues, wether it is about global issues, universal issues, spiritual issues umm issues from my past, issues in the present, issues I can see in the future, that is what its all about for me.”