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Women, Creativity and Mental Health in Context

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Women, Creativity and Mental Health in Context CANVASSING THE EMOTIONS Canvassing the emotions: Women, creativity and mental health in context Sally Northfield BSc: University of Melbourne GDip in Women’s Health: University of Melbourne GDip of Applied Psychology (Community): Victoria University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy College of Arts, Victoria University (April, 2014) Sara Wilson, Mona Lisa, 2006, acrylic on canvas, 70 x 50 cm. Collection of the artist. Artist’s Statement: “I was trying to capture the Fauvist movement’s colour on her face. I changed the background (to what it would have been in the original) to a volcanic eruption (looming danger). I did this because they say she was pregnant in this painting and unmarried. In this time frame it was frowned upon to be unmarried and pregnant, so she would have had a tough time looming ahead, without support and with society discriminating against her.” CANVASSING THE EMOTIONS i Abstract Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do? To provide context for the three studies, this thesis examines the status of feminist research in the 21st century and the ontological and epistemological implications of various feminist theoretical positions which impact upon how women’s participation in research can be presented and understood. In asking what it means to be a woman and an artist, the research adopts a diffractive methodological approach borrowed from feminist quantum physics and nomadic theory, and opens up a contingent space for an artistic subject to create. Historically, the identity of the mental patient has too often been thrust upon women, but the identity of the artist rarely. The thesis acknowledges the various challenges women encounter when envisaging, establishing and sustaining an art practice. Having taken the risk to proclaim this is what I see, many women held strong views about the role and meaning of artmaking in their lives: making matters. For some, with or without an experience of mental ill-health, artmaking was a way of living that was integral to wellbeing and inseparable from existence: It’s what I do, It’s who I am. This research resonated with an ontological presence. The women behind the paintbrush, pencil, pastel, charcoal or needle provide perspectives that challenge traditional ubiquitous links between ‘madness’ and creativity. This thesis resists the positioning of artmaking as an artefact of mental illness or artworks as direct representations of the artist’s clinical symptoms, and disrupts the notion that locates women primarily within the realm of the ‘emotional’. The manifestation of creativity in artmaking may have more to do with mental wellbeing than mental ill-health and provokes consideration of the role of artistic endeavour in each of our lives, individually and collectively. Keywords: women, artmaking, creativity, mental health, artist, feminism, diffraction. CANVASSING THE EMOTIONS ii Student Declaration Doctor of Philosophy Declaration “I, Sally Northfield, declare that the PhD thesis entitled Canvassing the emotions: Women, creativity and mental health is no more than 100,000 words in length including quotes and exclusive of tables, figures, appendices, bibliography, references, footnotes and interview punctuation to indicate pauses and omitted data. This thesis contains no material that has been submitted previously, in whole or in part, for the award of any other academic degree or diploma. Except where otherwise indicated, this thesis is my own work.” Signature Date 23 July 2015 CANVASSING THE EMOTIONS iii Awards and Publications Australian Postgraduate Award Research Scholarship (2005-2009). Victoria University Abroad: Student Exchange Scholarship (2005) – to the University of Florence, Italy. Grants Macedon Ranges Shire Council (2009) to tour the exhibition Canvassing the emotions: Women, creativity and mental health in context to Kyneton for International Women’s Day. Alfred Health (2008) for the exhibition Canvassing the emotions to appear at the 3rd International Congress on Women’s Mental Health at the Melbourne Convention Centre. Department of Health Services Goulburn (2008) to tour the exhibition Canvassing the emotions to Bendigo for Mental Health Week. Victoria University (2008) to present the exhibition Canvassing the emotions at Level 17 Gallery, Melbourne and present the seminar Womenmakingartmakingwomen for 100 years of women’s suffrage celebrations (Victoria). City of Melbourne Arts Grants (2007) for development of an exhibition of works by women who have experienced mental ill-health. Launched and first exhibited at the Queen Victoria Women’s Centre, Melbourne in 2008. Victoria University: Student Travel Grant to Italy (2005) – University of Florence. Publications Northfield, S. (2014). As If: 40 years and beyond – The Women’s Art Register in the 21st century. Portia 2014. Journal of Victorian Women Lawyers. Melbourne, Australia: Victorian Women Lawyers Association. Northfield, S. (2011). 50th anniversary of the pill in Australia: An incomplete revolution: A contribution from the Women’s Art Register. Melbourne, Australia: Victorian Women’s Trust. Northfield, S., Lawrence, D., & Wilson, S. (2010). Canvassing the emotions: Women, creativity and mental health: An exhibition. Women Against Violence: An Australian Feminist Journal, 22, 4-17. Northfield, S. (Ed.) (2008). Canvassing the emotions: Women, creativity and mental health in context [Exhibition catalogue]. Melbourne, Australia: Cunningham Dax Collection. CANVASSING THE EMOTIONS iv Acknowledgements Perhaps we all know an artist or two who has succumbed to the pressure to call her art a hobby or pastime and regard it as nothing more. Or who has succumbed to the pressure to quit. But this research also highlights women who, despite formidable challenges encountered or invitations to cease presented, have imagined, then established, then sustained an art practice and dared to claim the title of artist. I would like to acknowledge all these creative women and particularly the 45 women who participated in either the exhibition or the interviews for this research. Thank you for your insights concerning a life of making. To my wonderful supervisors Professor Jill Astbury and Heather Gridley, who never stopped asking me the hard questions or trying to reel me back in from whatever tangential plane I was exploring that month, and who simultaneously also kept reminding me not to douse myself. Thank you both for your expansive knowledge of so many areas, both theoretical and in practice and thanks for leaving the spark in this work. To Gail Stiffe, Rosemary Mangiamele, Christina Turner, Jan Delaney, Jane Henry, Antje Bauer and Danielle Hakim at the Australian Women’s Art Register, thank you for your persistence and insistence that women’s art matters and for sustaining The Register as a significant resource highlighting women’s contributions to the cultural landscape in Australia. Thank you to my sister, Dianne Northfield, for actually reading the mammoth first draft, nearly double the required size, and making strategic comments that actually engaged with the content. Likewise to my old friend Lisa Kerrigan who now says she views the world diffractively. To my partner Harry Lovelock and daughters, Ruby, Lydia and Scarlett Lovelock, two of whom were in primary school and one in kindergarten when I began this project, thanks for coming to Italy with me on the study tour (that was the exciting bit), subsequently enduring the PhD process, and you can have the computer back now! Thanks to my mother Jan, who frequently looked after the girls when they were small so that I could find some space to think, and to my many friends who I have cajoled into debating and considering the issues pertinent to this research. The thesis is over but the conversation about the role of creativity and artmaking in our lives will continue. To Philippa McMahon, Madeleine Flynn and Meredith Rogers, loosely known as the women of infinite distractions, who have met most fortnights since 2008 to discuss our PhD progress, I thank you for the support, encouragement, moments of hilarity, and then great sadness as we lost our dear friend and colleague Philippa, who diligently pushed us all to complete our projects. Despite or perhaps because of our diverse areas of research – music and sound, theatre, landscape architecture, women’s health and community psychology – the meetings were always challenging and fruitful. This thesis is dedicated to you, Philippa, for your frequently mischievous but always wise counsel. CANVASSING THE EMOTIONS v Who did I think I was! Frances (2007) No I’ve never - - I have always - - When I was married I did knit
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