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Community Art and Mental Illness in Dunedin

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Community Art and Mental Illness in Dunedin “Creating a platform for recovery.” The 420 Project: Community Art and Mental Illness in Dunedin. Written by: Sian Jones-White October, 2011 This Dissertation, prepared under the supervision of Dr. Erika Wolf, is submitted in partial fulfilment of the requirements of the University of Otago for the degree of Bachelor of Arts with Honours in Art History and Theory. Table of Contents Abstract 1 Acknowledgements 2 Dedication 3 Introduction 4 Chapter One: The Beginning of: Life, the Universe and the 420 Centre 8 Chapter Two: Moving into the Public Sphere: Exhibition, Documentary and Installation 20 Chapter Three: Challenging the Conventions of Traditional Art Practises 32 Conclusion 45 Bibliography 47 List of Figures (with full citation of sources) 50 Figures 52 1 Abstract The stigma associated with mental illness is a challenge facing contemporary society. The large scale collaborative mural Life, the Universe and the 420 Centre, also known as The 420 Project, is a community artwork created in 2007 at the 420 Centre, a mental health support organization in Dunedin. It was made with the contribution and active participation of over two hundred artists – about half of whom were living with mental illness. This project was coordinated by the artist Adam Douglass, who was motivated to work with the mental health community and create not only a platform for recovery, but also a catalyst for discussion through the mural‟s display. Created over eight months, the mural‟s completion also involved the voluntary contribution of local Dunedin artists. Made from over 1300 panels, the mural is massive in size and confronts viewers with a diverse range of vibrant colours, styles and images. The mural‟s creation culminated in an exhibition at the Blue Oyster Art Project Space and its subsequent installation at various sites in Dunedin. This dissertation examines the mural‟s conception, creation, exhibition, and continuing presence in Dunedin. Life, the Universe and the 420 Centre challenges conventional ideas about art and highlights the importance of both dialogue and the process of creation to collaborative community art. For the participating artists from the 420 centre, the experience of collaborating on and creating a community artwork was an extremely positive experience. The therapeutic aspect of making such an artwork is discussed, as well as questioning whether this project adheres to the standard definition of art therapy. Life, the Universe and the 420 Centre is a collaborative artwork that portrays the collective voice of a community working together. It is a talking point for issues surrounding mental health and teaches those people who are unfamiliar with mental illness not to discriminate or underestimate members of the mental health community. 2 Acknowledgements Firstly, I would like to gratefully acknowledge the enthusiastic supervision Dr. Erika Wolf has provided me throughout the course of writing my dissertation; she has inspired me to continue to work to a high standard, and fixed up more than a few errors. To Adam Douglass, my most sincere thanks. Your continuous input, prompt email replies and support of the dissertation has been indispensable to my research. To my employers, Eat Cafe and Liya Tukhvatulina, thank you so much for your understanding of my deadlines, and for encouraging me to make them! I would especially like to acknowledge the huge amount of support that has been given and shown to me by, Scott Weenink, my flatmates and particularly by my family. Thank you for listening and helping me to keep thinking positively. I would also like to show my appreciation to these organisations for their support of the project: The Dunedin Public Hospital, the Dunedin Public Library, Wakari Psychiatric Hospital, PACT Otago, The Apartment, The Blue Oyster Art Project Space, and the University of Otago. 3 Dedication This dissertation is dedicated to the mental health community in Dunedin, New Zealand. Life, the Universe and the 420 Centre promotional poster. Source: http://www.adamdouglass.co.nz/420_project.htm 4 Introduction Life, the Universe and the 420 Centre, also known as The 420 Project, is a large scale collaborative community artwork created in 2007 through the participation of over two hundred individuals, about half of whom were people living with mental illness. Adam Douglass, coordinator of this mammoth project, encouraged participation with the objective of providing a forum for discussion and a platform for recovery.1 This dissertation investigates the murals‟ creation and display by examining the conceptual origins of The 420 Project, its realisation, and its impact as an artwork both on its participants and on the wider Dunedin community. I will explore questions surrounding the roles of community artworks, and introduce readers, particularly Dunedin locals, to an artwork that they should be noticing. Life, the Universe and the 420 Centre is comprised of over 1300 plywood panels, each an artwork in its own right (figs. 1, 2, 3). Made over an eight month period, the creation of the mural culminated in an exhibition at the Blue Oyster Art Project Space in July 2007. Sections of the mural have since been installed in various public sites in Dunedin. The mural presents itself as a vibrant and celebratory artwork. Loud and exciting colours of red, blue, gold and green radiate from the diverse panels, which are connected and made cohesive through a series of silhouettes. The subject matter within the panels varies dramatically. Some panels are bright, positive and happy, whilst others seem to register the difficulties and emotional struggles encountered by those who painted them. Despite the mix of emotions, styles and colours, the resulting mural shows triumph, defiance and the collective voice of a community working together. Due to its sheer size, Life, the Universe and the 420 Centre forces viewers to address the issue of mental illness within society, encouraging us not to underestimate those we might choose to ignore. The participants from the mental health community who took part in the creation of the mural were all patrons of the 420 Centre, a place that provided services for those who are recovering from or dealing with mental illness. Named for its address at 420 Stafford Street and funded by PACT Otago, the 420 Centre offered a safe and 1 Michelle Armistead and Adam Douglass, “Collaboration for Healing: An Inspirational Art Project Breaks Down the Barriers to Recovery from Mental Illness,” New Zealand Artnews (Summer, 2007): 100. 5 supportive environment with counselling services, activities, outings and group sessions. It gave those who attended a chance to socialise, communicate and create relationships. In May 2011, the 420 Centre relocated and was renamed “The Apartment.” While the 420 Centre no longer physically exists, The Apartment has essentially taken over its basic functions. The coordination and supervision of the creation of Life, the Universe and the 420 Centre was led by local Dunedin artist Adam Douglass (fig. 4). Born on December 14, 1979, Douglass studied painting at the Otago Polytechnic School of Art and graduated in 2001 with a Bachelor of Fine Arts degree.2 Douglass was employed at PACT Otago as a community support worker in the arts, before becoming the art facilitator at the 420 Centre in 2006, when he started to offer weekly art sessions for participants. The experience of working at PACT introduced him to “recovery principles” related to mental health, which over time he integrated into his own artistic philosophies.3 It was through collaborative projects such as Life, the Universe and the 420 Centre that Douglass‟ role in art making evolved from a solo artist to that of an art coordinator, working within several different community groups.4 As an art coordinator, Douglass became interested in “the artist's role and status in society, art as a therapeutic activity, a language and a vehicle to develop dialogue, and the creative process.”5 His motivation for coordinating Life, the Universe and the 420 Centre grew from working with the members of the 420 Centre. Using the mural as a catalyst for discussion, Douglass sought to address issues surrounding mental health and to remove the stigma attached to mental illness. This dissertation follows a chronological format, beginning with the conception of the project and ending with the broader themes and issues the mural addresses. Drawing extensively upon an interview with Douglass, the first chapter examines the conception, coordination, conceptualization, and funding of The 420 Project. The second chapter centres on the mural after its initial completion; discussing the significance of exhibiting the work at the Blue Oyster Art Project Space, the accompanying documentary that was made, and the public installations. It will address 2 Adam Douglass, “Curriculum Vitae,” accessed April 11, 2011, http://www.adamdouglass.co.nz/cv_page.htm 3 Adam Douglass, interview by author, Dunedin, New Zealand, 29 June 2011. 4 Ibid. 5 Armistead and Douglass, “Collaboration for Healing”: 100. 6 the implications of displaying a mural such as this in the community, whilst questioning the role that community art plays. The third chapter of my dissertation addresses many of the bigger issues, themes, and questions that arose in the course of my research. As I worked on this dissertation, I realised that it was not the actual artwork that was of most importance, but the process of creation that led to the realization of the mural. Hence, I will consider the art making process in terms of the concept of dialogic art. Stressing the interactions between participants, dialogic art relates to many community art pieces. This chapter also addresses the challenges that this project makes to conventional concepts and traditions of art, including issues related to authorship, ownership and the limits of the gallery setting. This chapter includes a discussion of art therapy. For the members of the 420 Centre involved in this project, the benefits were significant.
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