“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. This raises the question of whether this project was in fact a kind of art therapy. In conclusion, I will endeavour to answer this question as well as to provide a definition of art therapy in relation to this project.
Throughout this dissertation I have incorporated a wide range of primary and secondary sources. The most invaluable primary sources were the interviews I received from Douglass, and locating a copy of the documentary film. Both of these sources were able to provide me with firsthand information and experiences of working on the project. Through the use of these primary sources I was able to locate several other useful documents, such as archival documents from the Blue Oyster, exhibition reviews and newspaper articles. An especially well used and valued source was the exhibition catalogue, which supplied me with a broad range of essays, such as one written by Sally Williams, one of the filmmakers of the documentary. This essay became a large basis of reference within my second chapter. As broader themes, issues and questions became apparent throughout my research, I was able to find related secondary literature derived from the fields of art therapy, art theory and art criticism, as well as several sources related to public and community art.
My motivation for writing my dissertation on the Life, the Universe and the 420 Centre stems from my own personal goal to one day study and work in the field of art therapy. I believe that art is not only a powerful medium for self-expression, but also a medium for healing. For people who are living with a mental illness, practising art is a 7 means for conveying their emotions, feelings. and/or personality. Art can also be a socialising activity that can lead to a gain in self-confidence. The 420 Project is both a testimony to the therapeutic powerful of art. Simultaneously, it made the mental health community in Dunedin both seen and heard. One goal in writing this dissertation is to introduce readers to both a significant collaborative community artwork, and to the opportunities and support that is available for those living with mental illness in Dunedin. I recognise that although progress has undoubtedly been made, mental illness is still an issue that needs to be addressed in order to remove the stigma that is attached to it. 8
Chapter One
The Beginning of: Life, the Universe and the 420 Centre
Since early 2008, a section of Life, the Universe and the 420 Centre, has been installed in the entranceway to the Dunedin Public Hospital. Hundreds of people pass it by every day, oblivious to its history and significance. This massive art project was intended to act as a catalyst for discussion for issues relating to mental health, but because of the lack of knowledge and understanding of the work within the Dunedin community, a continuation of dialogue cannot be achieved. This chapter will provide an analysis of the mural, detailing its concept, creation, coordination and funding.
The Mural
Life, the Universe and the 420 Centre in its entirety can be read as a story about the workings of the mental health system in Dunedin. As a complete mural, it is a vibrantly powerful work. Each 35 square centimetre panel has its own personality and style, but slots into place comfortably with the adjacent squares. Over 1300 panels make up this large collaborative piece, with the participating artists from both the 420 Centre and the Dunedin community painting at least one panel each. The participating artists were encouraged to paint on the panels whatever and however they wished. This resulted in a diverse, dynamic, and colourful mural. The diverse individual panels are linked together by means of graphic silhouettes of patrons of the 420 Centre. The silhouettes cut across the panels, creating a sense of cohesiveness by linking one square to the next. The mural tells the stories of the participating members of the mental health community in Dunedin and demonstrates the unifying and beneficial experience of creating art in a collaborative manner.
In order to coordinate the creation of a large scale artwork with numerous collaborators, Douglass had to be organised in his management of the project. Douglass set up an art space within the 420 Centre that was used on a weekly basis on Tuesday afternoons from December 2006 to the end of July 2007, preceding the culminating exhibition of Life, the Universe and the 420 Centre, at the Blue Oyster Art Project Space. 9
Most participants from the 420 Centre looked forward to Tuesday evenings, when they would create art, had the opportunity to work with other artists or guests from the community, and could observe different aesthetic approaches. Douglass commented on the involvement of the local artists:
Having a huge range of artists coming in is really cool because we get a huge range of people with different objectives and different philosophies and they‟re doing their own thing, then artists who use the centre can be inspired by that and seeing that [inspiration] through the process of making I think is pretty special and a bit of a privilege.1
The local artists that participated were encouraged to attend the Tuesday art sessions, some coming more than once, and some finding it easier than others. Douglass noted that “some artists can just come in and relax straight away, there is no preconceived ideas about what they‟re gonna paint... just have fun with what they‟re doing.”2 Douglass sought to create an environment in which no preconceived notions or expectations of what someone was to achieve would be imposed: “As art coordinator at the centre I'm employed to facilitate an atmosphere where patrons can create.”3 All of the 420 patrons were encouraged to join in with the creation of the project, but some struggled with the idea of expressing themselves or opening themselves up artistically. Others simply did not feel like doing it, and some did not know what to paint, but everyone continued to be supportive of one another. If Douglass or any other participating artist was approached for help or advice, then they were happy to provide it. James Haines, a patron from the 420 Centre and participating artist, stated that “art is not something that we think we can actually do, but when we actually sit down and give it a go, you find that yes, it actually is.”4 Some people created several panels, whilst others only created one. Sally Williams, a filmmaker who helped to create the accompanying documentary The Mural (2007), recalled:
Every Tuesday tables were covered with paper, the paint came out and whoever felt like creating art on a panel would do so - no boundaries. There were
1 Adam Douglass, interview in The Mural, documentary directed by Katrina Jones (Dunedin N.Z.: 2007), DVD. 2 Ibid. 3 Michelle Armistead and Adam Douglass, “Collaboration for healing, An inspirational art project breaks down the barriers to recovery from mental illness,” Artnews New Zealand (Summer 2007): 100. 4 James Haines, interview in The Mural. 10
afternoons full of participants and afternoons with few; afternoons where the patrons were the majority and times when they were the minority in their own space; raucous days, quiet days, days of wall to wall shenanigans. Negativity and animosity didn't feature.5
To make the working studio functional and organised, Douglass utilised the space provided to construct the plywood panel base that would provide the basic foundation for the artwork. After sourcing the panels from a local wrecker, Douglass placed them on the wall, where they hung freely and were easily taken down for painting and returned when finished. Each panel was carefully ordered so that the sequence of images was not mixed up when one was removed and placed back.
The drawing of the silhouettes onto the plywood panels marked the beginning of the creative phase of the project. Once the silhouettes had all been placed participants were free to select any panel they wished. Douglass argued that the silhouettes “act as a link between the panels, which helps to hold the piece together; and they create an interesting dynamic, juxtaposed against the psychedelic, psychological landscape of the whole composition” (figs. 1 and 2).6 In order to create the silhouettes, Douglass shot photographs of members of the 420 Centre, staff and others who wished to participate. He then used a computer programme to digitally transform them into silhouettes. The silhouettes could come in any form or position the participant wished to take, thus emphasizing the performance element of the images. Some silhouettes are pictured in movement, whilst others are still with arms and legs posed in expressive stances. Just as the individual panels were the distinct expressions of each artist, each silhouette also bears the personality of the individual represented. Douglass printed the silhouette images onto translucent paper and used a projector to project the image onto the blank panels. He then adjusted the projector to make the silhouettes larger or smaller, thus creating an illusion of depth within the mural. Douglass saw the mural‟s illusion of depth and use of silhouettes as links to reality and the outside world.7
What strikes you most when first seeing Life, the Universe and the 420 Centre is the extreme and dynamic use of colour. Paint was the most widely used media within the mural, but participants were also encouraged to try other media such as pastels,
5 Armistead and Douglass, 100. 6 Adam Douglass, “Project Report: The 420 Project, Life, the Universe and 26 Stafford Street,” Scope (Art) 2 (November, 2007): 127. 7 Ibid. 11 collage and pencils. The colours used in the mural are taken from right across the colour spectrum. Reds, golds, greens and blues stand out amongst the images, exuding radiance and vibrancy. The silhouettes in Life, the Universe and the 420 Centre are painted in black, but like several of his other major artistic works, Douglass did not intend for the black colour to be seen as negative space or emptiness, “the black is a warm fullness, not a cold emptiness.”8
An enormous variation of imagery appears across the mural. Some panels are colourful, showing images such as rainbows, flowers, suns and love hearts, whilst others are darker, coloured with blacks and greys, portraying images like sinister looking spider webs and insects. Working with the knowledge that over half of the artists who collaborated on this work are living with mental illness, it is hard not to read into some of the panels and make assumptions about the meanings behind the images. A few of the panels are portraits. Some are self-portraits, whilst others show the faces of patrons of the 420 Centre, or no one in particular (figs. 5 and 6). Words and messages also feature throughout the mural. Some of the texts are political, such as “save the upland tussock” (fig. 7), while others are more poetic. The inexperience of some of the artists may have made them more likely to incorporate text, rather than imagery. The arbitrariness, diversity and self-expression of the images is exemplified by a panel that portrays the face of the man on Zig Zag cigarette paper packets (fig. 8). This image on this is somewhat random and unlike any other in the mural. For its creator, Phill, a patron of the 420 Centre, it was something that he thought of to do and took pride in realising.
It might be argued that the careful and exact sizing of the panels that make up the work imposed a kind of restriction, which forced the artists to stay inside their own space. However, as each panel seems to spill over onto the next, the mural reads as a truly collaborative and collective work.9 Some panels within the work are obviously painted by professionals or people with evident artistic skill, but this in no way takes significance or admiration away from those that were painted by more amateur
8 Bridie Lonie, “A Place in the Universe,” in Life, the Universe and the 420 Centre, exhibition catalogue, ed. Adam Douglass (Dunedin: Blue Oyster Art Project Space and PACT Otago), 1. 9 Kathryn Mitchell, “Life, the Universe and the 420 Centre,” Art New Zealand 124 (Spring 2007): 37. 12 contributors. It is the self expression shown in each individual panel that is of importance when looking at Life, the Universe and the 420 Centre.
Although it is made up of over one thousand separate panels, when placed all together, Life, the Universe and the 420 Centre is most definitely a singular, unified piece. When viewed as a whole, positivity radiates from the colourful images depicted on the panels, even though some of the creators have suffered hardship in their lives that are difficult for most of us to imagine. When viewing the mural the focus is on the images of silhouettes, meandering their way across the coloured panels, dipping in and out of a close up perspective, and working together with the surrounding panels to create a balance between reality, fantasy and individual personality. From afar you recognise the unlikely combination of style and colour, but it seems that as you get closer to the work, “you see more and understand less.”10 Occasionally, a particular panel catches your attention and causes you to stop, think, wonder and consider the artist who created it, and what their intentions may have been. The panels that seem to capture the individuality or personality of a particular participating artist remind one that this indeed was a collaborative work. Its creation was realized by people with many different stories to tell.
Adam Douglass
Adam Douglass‟ involvement in the 420 Centre began in 2004, when he was offered a paid position as an Arts Coordinator, initially working just three hours a week. During his early employment Douglass‟s main role was to coordinate art sessions and attempt to form an atmosphere in which patrons of the 420 Centre felt comfortable creating art.11 Douglass viewed his role as “facilitating an environment where people could be creative. I was trying to develop accessible projects that would engage a large range of the members for an extended period of time.”12 From 2004-2007, Douglass worked on three major art projects with members of the 420 Centre: The Psychedelic Circus (2005; fig. 9), The People and the Tree (2006; fig. 10), and Life, the Universe
10 Benjamin Smith, “Artnotes: 420 Project,” Art Monthly Australia Issue 201 (July 2007), http://www.artmonthly.org.au/artnotes.asp?aID=4&issueNumber=201 11 Adam Douglass, “The 420 Project” (project proposal submitted to the Blue Oyster Art Project Space), 2006, Blue Oyster Archives, Dunedin. 12 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 June, 2011. 13 and the 420 Centre - the final and largest collaborative project created during his tenure as arts coordinator.13
As an artist, Douglass bases his work upon a “union of dualities.”14 His art shows a fascination with a range of dualities, including light and dark, man and nature, the living and the dying, creation and destruction. He states that “The union of dualities and the evolutionary process of painting are significant focuses within my work.” Within his paintings, light and darkness take on new meanings. Darkness is an element normally associated with death, destruction or the finality of an event. However, Douglass challenges these preconceptions by positioning light in his images so that darkness is shown not as destruction or the end, but as the source of creation. In contrast, Douglass shows light as the “rupturing force, as a destroyer.”15 This union of dualities is evident in the work Out of Polygon, limbs, leap, crease from the series The Jazz Blade Club (2006; fig. 11). Douglass‟ paintings also create a powerful suggestion of the changing of perspective, both physically and mentally, through their extremely large size. These large scale works envelop and dominate the viewer‟s attention, forcing the viewer to move around the painting in order to see the entire piece. Perception, perspective and space also play a role in Douglass‟ group projects with the 420 Centre.
Collaborative drawing is a common working method in Douglass‟ art projects, dating back to his studies at Otago Polytechnic. Douglass acknowledges that the original inspiration for Life, the Universe and the 420 Centre occurred in 1999, when he took part in a collaborative drawing with fellow artists Bryn Corkery, Lara Cook and Jane La Hood.16 Elements from this collaborative drawing also served to inspire The Psychedelic Circus and The People and the Tree. In this experimental collaborative work, Douglass and his friends would each take five-minute turns to draw on card that had been taped onto the wall. Douglass recognised that “this way of drawing was also a really productive way to meditate on attachment, impermanence and to focus the mind. One would also experientally develop an appreciation for different perspectives.”17 This
13 Armistead and Douglass, 101. 14 Tamara Darragh, “Adam Douglass,” in Artists: A Snapshot of Contemporary New Zealand Art Practice, 2007-2008, eds. Tamara Darragh and Kylie Sanderson (Auckland: Artigiano, 2009), 18. 15 Darragh, 18. 16 Douglass, “Project Report”: 126. 17 Douglass, “Project Report”: 126. 14 form of collaborative drawing was conducive to working with the patrons at the 420 Centre because it was an artistic method that allowed everyone to participate, share perspectives and work together to create a singular piece.
As Douglass‟s art continued to develop, so too did his interest in the artist‟s role in society, art as therapy and art as an aesthetic experience.18 Prior to the creation of Life, the Universe and the 420 Centre, Douglass had produced similar works that tested and addressed these interests. The first major collaborative project he created with these particular aspects in mind was the artwork The Psychedelic Circus, a 3 x 5 meter mural composed of eighty-eight sheets of A3 size paper. The drawings were completed in coloured pastels, producing an extremely vibrant and lively effect. It began with one singular piece of A3 paper, which then was expanded onto three more sheets. Douglass chose to mount these sheets on the wall of the 420 Centre and encouraged members to partake in the creative experience. Douglass commented: “Within this project there was a constant source of inspiration to work from. People weren‟t overly precious hanging their artworks. Everyone‟s individual works became an integral part of the construction. One work would lead to the next. One would have to create for the moment, it would be impossible to imagine the conclusion.”19 The Psychedelic Circus is organic and flowing, with one piece extending onto the next; it appears both random and deliberate at the same time. Since its completion, The Psychedelic Circus was kept on display at the 420 Centre, and has subsequently been reinstalled at The Apartment.
Douglass‟ second major collaborative art project at the 420 Centre was The People and the Tree. Inspired by the American artist Kara Walker, Douglass focussed this artwork on the use of silhouettes.20 Walker is a contemporary African-American artist who is famous for her large-scale black cut-paper silhouettes that explore issues of race, gender, sexuality and identity.21 Although The People and the Tree was inspired by Walker, it is quite distinct from her work. Walker uses black colouring for her silhouettes, whilst Douglass encouraged members of the 420 Centre to participate by having their silhouette created and then filling their image in any way, with any colour,
18 Douglass, “The 420 Project.” 19 Ibid. 20 Ibid. 21 Alisa Swindell, “Challenging Consumption: Kara Walker‟s Keys to the Coop,” Gastrnomica 5 (Spring, 2005): 6 15 design or style they wished.22 For Walker, the silhouettes are the only subject within her works, but Douglass chose to incorporate other pictorial elements, such as the overhanging tree, to help link the varied silhouettes together. The People and the Tree was painted directly onto the inside wall of the 420 Centre and was extremely large. In The People and the Tree the usage of silhouettes allows the individual identities of the participating artists to be acknowledged, whilst still functioning as a singular cohesive artwork. Because of the relocation of the 420 Centre to The Apartment, The People and the Tree no longer exists.
Both The Psychedelic Circus and The People and the Tree are works that heavily influenced the creation of Life, the Universe and the 420 Centre. Ideas of flow, connection, colour and randomness was extracted from The Psychedelic Circus, as well as the modular nature of creation. The People and the Tree introduced the idea of using silhouettes as a means of linking one image to the next. Ultimately, Life, the Universe and the 420 Centre was a fusion of elements from both of these previous artworks. The Psychedelic Circus and The People and the Tree were well received by the participating 420 members: “a large percentage of people wanted to be involved and they were proud of the results.”23 These two preceding art projects gave Douglass the confidence to pursue Life, the Universe and the 420 Centre; an even larger project than the previous two combined, not only involving 420 Centre members and staff, but other local artists and members of the general public.
Douglass was motivated to create Life, the Universe and the 420 Centre, as he believed that it would be beneficial to members of the 420 Centre. In this quest, social inclusion was one of Douglass‟s major focuses. He wished for members of the 420 Centre to connect with people outside of the social circles that surround mental health. Douglass believed that “interacting on a level playing field can potentially empower people and alleviate some stigma,” and acknowledged that in many cases “a lot of members felt uncomfortable in the wider community, sometimes through paranoia, sometimes through negative experience.”24 Douglass saw that by working together towards one major goal – the completion and display of a mural – a sense of achievement, self-worth and self-confidence might develop. As he observed:
22 Douglass, “The 420 Project.” 23 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 June, 2011. 24 Ibid. 16
“Creativity can allow somebody the opportunity to step outside of their life situation and be present in a world of potential. Through a shared experience relationships can develop. Having a voice acknowledged in the community, supported by others, can allow somebody to feel relevant and vital.”25 Through collaborating and participating in the creation of Life, the Universe and the 420 Centre, the potential, self-esteem and confidence of the patrons of the 420 Centre was both encouraged and strengthened.
In order for this project to become more than just an idea, Douglass had to commit himself wholly to it. As coordinator of the work, he encountered some difficulties throughout the process. One of the most significant difficulties to overcome was recruiting local artist-participants from outside of the 420 Centre. While members of the 420 Centre had worked with Douglass on his previous art projects, they were still wary of participating with others and trusting people, in particular the local artists who would show up. Hence, this was a difficult step for some to make. Contacting local artists was also a challenge. A local artist himself, Douglass already had established networks within the Dunedin artistic community. Nevertheless, he still found himself working hard to encourage people to participate. He related:
Initially I sent out some group emails, I didn‟t get much feedback from these. I started calling people and visiting artists. When meeting one on one, artists were generally really open about getting involved. Once I had some momentum and some support, it became easier and easier to engage artists. Occasionally I had to name drop. I wanted to get a broad range of artists involved, with different backgrounds and intentions – students, emerging, established, conceptual, painters, photographers, graffiti, craft, some prominent people from different communities who dabbled with creative pursuits – the local pastor, the Rinpoche from the Tibetan Buddhist community, and an Islamic artist etc. I tried to make the project accessible to all the visual arts community.26
While the project was for a good cause, it was far from a straightforward task to get people involved. The fact that Douglass had to “name drop” proves that some of the artists he approached had to see beyond the significance of merely taking part in order to agree to participate.
Another difficulty that Douglass encountered was the unforeseen amount of time that the project took up. From the end of November 2006, until the murals‟
25 Ibid. 26 Ibid. 17 exhibition in July 2007, Douglass could often be found at the centre until 3:00 a.m. setting up panels and connecting panels for work the next day. In committing so much time to the project Douglass found himself developing stronger relationships with staff and members of the centre. “At the time, it was my choice to undertake the project so I basically did what needed to happen to make the project a success.”27
Funding and PACT Otago
The funding for Life, the Universe and the 420 Centre required substantial organisation and support. Douglass applied for help from PACT Otago. Because PACT was the main financier of the 420 Centre, they ultimately covered all the expenses relating to the art materials needed to create the project. PACT paid for all of the plywood panels used, and Douglass sourced them from a local wrecker who was recycling the wood.28 Douglass also had to renegotiate his wages with PACT for the extra hours he was putting in because of the project. PACT Otago ultimately played a highly significant role in supporting Douglass and the 420 Centre throughout the project. Life, the Universe and the 420 Centre was never intended to be a monetarily profitable endeavour, reaffirming that Douglass‟ role within the project was more as an arts coordinator, rather than as a professional artist.
PACT plays an important role within the Dunedin community, as it is one of the major support services and resources for those with intellectual or physical disabilities, as well as those recovering from mental illness. Within its three geographic branches, PACT supports over eight hundred people with intellectual and/or psychiatric disabilities (mental illness) and has over 350 employees.29 It is through PACT that the 420 Centre existed and was funded. Funding and donations supplied and organised by PACT went towards the coordination of activities and social outings, food, furniture and the general upkeep of the 420 Centre.
The beginnings of PACT can be traced back to 1877, where it originated as an organisation called the Patients‟ and Prisoners‟ Aid Society of Otago (PPAS). This
27 Ibid. 28 Ibid. 29 “About Us,” PACT Otago, accessed July 14, 2011, http://www.pactgroup.co.nz/about_us.html 18 organisation, formed by a group of Dunedin citizens, focussed mainly on the rehabilitation and support needed for those who were living in Dunedin prisons or “lunatic asylums.” PPAS‟ mission was to provide hope and to “help the helpless and bring relief to the needy.”30 PPAS continued until the 1980s when it was divided into two new separate community trusts. The purpose of the establishment of these community trusts was to provide separate services – one for criminal offenders, Prisoners Aid & Rehabilitation (PARS), and one for patients of mental health, the Patients and Community Trust (PACT).
During the 1980s and early 1990s, PACT gathered support and expanded rapidly following the closure of Cherry Farm Hospital, a psychiatric institution that served the Dunedin area from 1952 to 1992. After its closure, some patients went to Wakari Psychiatric Hospital whilst others were rehoused within the Dunedin community as part of a mainstreaming policy. The patients who were rehoused in the community were supported by the Hawksbury Community Living Trust and by PACT.31 During the 1990s PACT expanded further into Southland and continued to provide mental health supported accommodation and mental health services throughout the Otago and Southland districts.
During recent years PACT has recognised the need not only for adequate accommodation, but also for social activities designed specifically for clients living with mental illness. PACT has focused on providing activities that their clients are able to participate in during the daytime so that they have a focus for their day and opportunities to socialise together. PACT Otago established the 420 Centre as an activities centre for people recovering from mental illness. Normally PACT‟s facilities are available to users only after a needs assessment, as required by the Ministry of Health Board. However, the 420 Centre was always intended as a drop in centre that would be available for anybody who needed it.32 Within the 420 Centre PACT wished to create “a safe environment for people to come for support, art sessions, work groups, cheap lunches, outings, meetings with friends, a coffee, a tea, a smoke and the odd game of pool.”33 These activities and goings-on all provide the function of encouraging
30 Ibid. 31 Ibid. 32 Ibid. 33 Douglass, “Project Report”: 124. 19 social activity and allow for patrons of the 420 Centre to relax in an environment where they feel comfortable. The art sessions the 420 Centre provided play a key role in this. Not only do they offer an opportunity for social activity, but also a medium for self- expression. Since the 420 Centre‟s relocation, art sessions and activities have continued at The Apartment.
Through PACT‟s involvement and support of institutions like the 420 Centre, the mental health community and the wider Dunedin community benefit substantially. It is through the support of the projects that those institutions undertake, such as Life, the Universe and the 420 Centre, that helps those people who have intellectual or physical disabilities or are recovering from a mental illness, gain confidence to acknowledge themselves as being an important part of the wider community. Community centres and especially collaborative community projects can be beneficial to all who wish to support and partake. It is because of community based organisations that bonds within a community are strengthened. 20
Chapter Two
Moving into the Public Sphere: Exhibition, Documentary and Installation
On July 10, 2007 the exhibition of Life, the Universe and the 420 Centre opened. The atmosphere on opening night was thick with excitement, as people from all areas and aspects of Dunedin gathered to celebrate the culmination of this massive, collaborative, community artwork. For the participating artists from the 420 Centre, the experience of seeing their work completed, unified and in a gallery setting was exhilarating. Some time after the exhibition, the mural made its way into various public locations. The shift of the mural into the bigger community was an incredibly significant moment, as it indicated that the discussion and acknowledgement of mental health was to be continued within the public sphere.
This chapter examines the trajectory of the project within Dunedin after the completion of the mural, including its exhibition at the Blue Oyster Art Project Space, a documentary film about the project, and the installation of the mural in three distinct public locations in Dunedin. This analysis of the mural after its initial completion will consider the role of The 420 Project in the Dunedin public sphere, whilst questioning the broader function of community art.
The Exhibition
The creation of Life, the Universe and the 420 Centre culminated in an exhibition held at the Blue Oyster Art Project Space. Adam Douglass wanted to secure the Blue Oyster as the location for the mural‟s exhibition before any work on the construction of the artwork even began. Douglass envisioned the Blue Oyster as the ideal space for the display of the work, due to both its physical layout as an art space and the Blue Oysters‟ dedication to supporting dynamic, experimental, innovative and non-commercial arts.1
1 Adam Douglass, “The 420 Project” (project proposal submitted to the Blue Oyster Art Project Space), 2006, Blue Oyster Archives, Dunedin. 21
Located on Moray Place in the centre of Dunedin, the Blue Oyster has been a leading local art space as well as a prominent and active participant in the lower South Island arts community since its establishment in 1999. It is governed by the Blue Oyster Arts Trust (BOAT), a non-profit organisation that is made up of a group of practising artists, curators, performance artists and other creative professionals within the community.2 The Blue Oyster Arts Trust wished to expand the artistic interest and understanding of contemporary arts practise by providing a forum for discussion and debate regarding contemporary art issues. The Blue Oyster is a venue that specifically supports and displays alternative art. As stated on its website, “The Blue Oyster is Dunedin‟s only experimental art space that is intended and allows artists to work experimentally, free from the restraints that often accompany the commercial gallery and irrespective of the stage of their career.”3 The Blue Oyster aims to provide an art environment that represents and involves culturally diverse groups as well as to represent both national and international contemporary arts.
Because the Blue Oyster is a non-profit organisation, it is supported entirely by grants and relies heavily on the generous support of the community. The major contributor to the gallery is Creative New Zealand, supplemented where possible by smaller grants from various sources and trusts, such as the Dunedin City Council and the Community Trust of Otago. The Blue Oyster does not take commissions on sales of any artwork as this is not what the gallery was created for. Artists that intend for their projects to have strong commercial intent are not accepted to be displayed within the gallery.4 Life, the Universe and the 420 Centre fits in with the Blue Oysters‟ mission as an art project because it connects itself to the wider community by introducing a broader segment of the Dunedin community to alternative art, and cultivates contemporary alternative practises.
In order to exhibit the mural at the Blue Oyster, Douglass had to submit a proposal that outlined the intentions of his project. This proposal summarized his vision
2 Jo Campbell and Erika Wolf, eds., “Introduction,” in Old, New, Borrowed, Blue: 10 Years at the Blue Oyster (Dunedin: Blue Oyster Art Project Space, 2009): 7. 3 Blue Oyster Art Project Space, “About Us,” accessed on 12 July, 2011, http://www.blueoyster.org.nz/about-us/; originally Blue Oyster was located on High Street until they lost their lease and moved to Moray Place. Douglass faced an issue with his application because of the relocation, but the new premises were able to accommodate him. 4 Ibid. 22 of the installed mural: “4 walls of the Blue Oyster Gallery bombarded with intense, psychedelic psychological landscape... at first glance an all consuming step into psychedelia, a step closer we notice a huge array of individual works of art all united to form a balanced whole.”5 In his project proposal Douglass explained what the process behind creating the work would entail as well as the benefits of exhibiting Life, the Universe and the 420 Centre at the Blue Oyster. Describing the purpose of the project, he stated: “I want to document a social consciousness, and in the process eliminate some stigma, develop a dialogue in the community and create a platform for recovery.”6
For Douglass, it was important that the mural be exhibited at the Blue Oyster, because it shared the common mission of community development through the arts. As the time for the exhibition grew nearer, Douglass set about creating awareness within the Dunedin community about the exhibition. He and members of the 420 Centre did this by handing out pamphlets, putting up posters throughout the main streets and utilising local radio stations and newspapers. When the day for installing the mural in the Blue Oyster arrived, it took 25 volunteers three days to set up the 1300 panels.7 The resulting exhibit was held from July 10 to 28, 2007 and took the form of two installations that filled the space (figs. 3 and 12). The small rooms with low ceilings allowed Douglass to display the mural in an all encompassing fashion, where viewers were surrounded and confronted directly with the artwork. Everywhere viewers looked they would be encircled by the vibrant colours and different personalities emanating from the panels. As noted by Phill, one of the contributors from the 420 Centre, “Each picture is different, each tile is different, everywhere you throw your eyes its different each time.”8
Throughout the exhibition of Life, the Universe and the 420 Centre, panels continued to be constructed, created and added to the mural. Douglass utilised a section of the space of the Blue Oyster Gallery as a creative space in which 420 members as well as exhibition goers could continue to paint panels there during the exhibition, until no blank panels remained.9 Douglass saw the ongoing creation of panels as an
5 Adam Douglass, “The 420 Project.” 6 Adam Douglass, “Project Report: The 420 Project, Life, the Universe and 26 Stafford Street,” Scope (Art) 2, (November 2007): 124. 7 The Mural, documentary directed by Katrina Jones (Dunedin N.Z.: 2007), DVD. 8 Phill, interview in The Mural. 9 Douglass, “Project Report”: 124. 23 opportunity to involve more people in the project and to allow them to experience the self satisfaction that comes from producing an artwork. Douglass commented at the exhibition, “all these people were involved to create this piece that works as a whole, but then breaks up into a thousand smaller bits.”10 This feature of the exhibit also allowed viewers and visitors to meet and interact with people who have mental illness, furthering the dialogue that Douglass sought to stimulate concerning the stigmatization of mental illness within society.
The crowd who gathered for the opening of the Life, the Universe and the 420 Centre exhibit was made up of a significant portion of the participants in the mural and their families, as well as other people involved in the arts community in Dunedin. The atmosphere on the opening night was one full of excitement, an excitement that had been building since the beginning of the project. Rose, a member of the 420 Centre commented: “I know for myself the more closer it gets to the time of the exhibition the more excited I‟m getting. I just want it to happen now!”11 The opening night was also a chance for everyone who had been involved with the project over the past six months to reconnect with each other. Douglass noted shortly before the opening that “it will be really nice to connect with everyone again, and remembering where everyone was at this moment...that will be a real cool experience.”12 For most participants, the opening night of the exhibition was the highlight of the entire process, an event imbued with an almost cathartic ambience. The atmosphere that surrounded the artwork was intense, exciting and stimulated discussion; this was not a typical exhibition opening. For the members of the 420 Centre who were present, it was a moment of intense pride. James Haines, a member of the 420 Centre said of the opening night: “You see people looking at the artwork, they‟re talking about it and what they are thinking I reckon is what amazing artists we are, and everyone who was involved in it; what a fantastic job done by all.”13
As an exhibition, Life, the Universe and the 420 Centre was a great accomplishment, not only for alternative community arts, but also for the mental health community. Through advertising, word of mouth and from the support of local radio
10 Adam Douglass, interview in The Mural. 11 Rose, interview in The Mural. 12 Adam Douglass, interview in The Mural. 13 James Haines, interview in The Mural. 24 stations, such as Radio One and newspapers, The Otago Daily Times and The Star, information spread about the exhibit and it proved intriguing to many people who visited. The Blue Oyster Gallery played a vital role in the success of Life, the Universe and the 420 Centre, and in return received exposure and awareness within the art scene as being an organization that supported alternative art projects as well as the wider Dunedin community. Just as Douglass aimed to achieve with Life, the Universe and the 420 Centre, the exhibition created a talking point and forum for discussion within the Dunedin community about mental illness, and how the community deals with mental health as an issue.14
The Documentary
Throughout the duration of the creation of Life, the Universe and the 420 Centre, a documentary film was made that recorded different stages of the project across a five-month period. The documentary was created by freelance filmmaker Katrina Jones with the assistance of her colleague Sally Williams. Jones and Williams were both graduates in 2005 and 2006 of the University of Otago Postgraduate Diploma in Natural History Filmmaking and Communication. The documentary was screened to an audience in Dunedin during Mental Health Awareness Week in October 2007 and also on Sky‟s Arts Channel in 2007 and 2008. Following these screenings, other mental health organisations across New Zealand sought out the film for screenings. In Dunedin, copies of the documentary remain available for viewing by the public at the Hocken Collections and the Blue Oyster Gallery.
Entitled simply The Mural, this documentary is a recording of the process of healing through doing.15 In order to make the documentary, Jones procured funding from the Dunedin City Council‟s Creative Communities Scheme. The Creative Communities Scheme supports and encourages local communities to create and present diverse opportunities for accessing and participating in arts.16 Jones also received
14 “Art helped Raised Mental Health Awareness,” Otago Daily Times, July 30 2007. 15 Catherine Wellington, “Art caught on film: Documenting life, universe and 420 Centre,” The Star, 12 July, 2007. 16 Dunedin City Council, Creative Communities Funding, accessed on 22 September, 2011, http://www.dunedin.govt.nz/services/dcc-funding/creative-communities-funding. 25 funding from PACT Otago and from Natural History New Zealand (NHNZ), where she had previously interned. With this support, she was able to spend Tuesday evenings at the 420 Centre recording the progress of the mural.17 The film starts with factual information and statistics about mental illness, and then continues with patrons of the 420 Centre telling their feelings and experiences of living with a mental illness. The documentation of the creation of the mural begins with Adam Douglass explaining the idea of the project and then follows through with scenes of the 420 patrons and local artists painting alongside each other. The documentary concludes with the exhibition opening at the Blue Oyster, a segment that conveys the excitement and energy that was apparent that night. The artists talk about how proud they were to finally have their work shown to the community and their renewed faith in the wider public and themselves.
For the patrons of the 420 Centre, the creation of the documentary was a very important aspect of Life, the Universe and the 420 Centre. Williams acknowledged that creating a documentary film is often about creating awareness about a particular issue: “It became clear that for the patrons and staff of the 420 Centre this was a very important facet of the art project; and clearly this drive for widespread dialogue was present in Adam‟s design for such an engaging and far reaching community based project.”18 Fiona Panirau, team leader of the 420 Centre was impressed at how quickly relationships formed between patrons, artists and film crew: “The inclusion of the film crew seemed to turn the art sessions into an event, which increased the importance of being there for some...the camera crew turned the Tuesday afternoons into a huge occasion. The process of making became a huge experience in itself.”19 For members of the 420 Centre, the strengthening of their trust and rapport with the film crew further enhanced their experience of participating in the creation of the project.
Jones‟ motivation to make the documentary was to remove the stigma associated with mental illness. She wanted to raise awareness of mental illness by telling people‟s personal stories of struggle and wished the documentary to be seen as
17 Wellington. 18 Sally Williams, “The 420 Project: A View from Sally Williams,” in Life, the Universe and the 420 Centre, exhibition catalogue, ed. Adam Douglass (Dunedin: Blue Oyster Art Project Space and PACT Otago): 4. 19 Fiona Panirau, essay for the exhibition catalogue, in Life, the Universe and the 420 Centre: 11. 26 an educational film that would provide viewers with insight into how a community worked together despite their differences and difficulties.20 From behind the camera, Jones was able to get to know and understand the patrons of the 420 Centre on an intimate level and came to see their life from a completely different angle. For Williams the aspect that benefited her most came from the general feeling around the 420 Centre, that even if you were having a bad day, that made you no better or worse than who you were on a good day. She explains: “You were how you were and that‟s how everyone would take you for that afternoon. The Centre seemed as united in dealing with mental illness as it was in creating a supportive and understanding space for people.”21 Both Jones and Williams hoped that the documentary‟s viewers would also be able to see these people from a new perspective and that the members of the 420 Centre‟s views on how they and mental illness is perceived would radiate to the wider public.22
The documentary is highly evocative and emotional, helping the audience to consider the issue of how they both see and understand mental illness in the community. The documentary begins with a quite sombre feel, but as the film progresses in conjunction with the mural‟s progression, the music lifts and a sense of energy, happiness and excitement is projected. “Whilst painting, talking, laughing, joking or humming along to The Beatles, the 420 crew helped create a picture of what it means to live with mental illness.”23 The Mural documents how healing can be achieved through the creation of art. The audience is able to see people who have a mental illness in an environment where they feel comfortable and not threatened in. Through this perspective the viewer understands how those with mental illness can achieve something significant, when they are given an opportunity to thrive with no pressures or preconceptions. The documentary breaks down the walls between those who have mental illness and the wider community. It makes viewers aware of their assumptions and of how they choose to treat those dealing with mental illness. Williams believes that the mural and the documentary “allowed a window into the lives of people who live with mental illness, it offered a window out of this life and into the many and varied lives, views and ideals of the wider community. There was an education that
20 Wellington. 21 Williams, “The 420 Project,” 4. 22 Wellington. 23 Williams, “The 420 Project,” 4. 27 flowed both ways.”24 Douglass saw the project as a sort of documentary in itself of social consciousness in Dunedin.25 It showed what could be achieved, and how the community could benefit when a supportive creative environment was made available to all.
The Public Installations
After the exhibition of Life, the Universe and the 420 Centre at the Blue Oyster Gallery, the mural was dismantled and kept in storage until early 2008, when a number of sites for its public installation were confirmed. Being so large, the mural was divided up into sections and installed in four separate locations within the public sphere. Ideally, the entire mural would be displayed intact as a singular extremely powerful and impacting artwork. However, due to time constraints and lack of public art space it had to be divided. Nevertheless, the mural‟s division has a positive side, as more people are exposed to it than would be at a singular location. The different parts of the mural are presently installed at the Dunedin Public Hospital, the Dunedin Public Library, the Wakari Psychiatric Hospital, and PACT Otago. These locations were all chosen by Douglass and are site-specific. Unlike much community artwork, Life, the Universe and the 420 Centre was not initially created with the intention of being installed at these particular public sites. Douglass approached these institutions and inquired whether they would like to receive a section of the artwork for free, with the only condition being that they must cover the installation costs.26 All of these organizations were eager to acquire the mural and welcomed the addition of a community artwork to their premises. Douglass commented: “All of the prospective homes for the artworks were really approachable – generally people embraced the project and appeared to appreciate it on multiple levels.”27 The mural installations were not arranged to be permanent fixtures on the premises. Rather, they are currently on loan to the various locations for as long as the organizations wish them to remain.
24 Ibid. 25 Benson. 26 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 June, 2011. 27 Ibid. 28
For Douglass, it was important that Life, the Universe and the 420 Centre be installed at places that were of public use, where the mural could be presented to a wide demographic. According to Carl Grodach, Assistant Professor at the School of Urban/Public Affairs at the University of Texas, the chosen public space in which the art is presented has a direct effect on how the art is read and received.28 Grodach argues that determining the „publicness‟ of a public space is a highly subjective process: “Interpretations of public space may differ according to individuals social identity or background, how and why they occupy the space, and a variety of contextual factors.”29 This was an issue that played a role in Douglass‟ selection of places to install the work.
In the case of Life, the Universe and the 420 Centre, the installations are placed in contextualised locations. The installation sites are relevant to themes and issues surrounding mental health, and because of this, open discussion is encouraged. Douglass‟s goal in placing the mural on public display was to further the discussion about mental health and the stigmas attached to it, and to communicate related ideas through aesthetic experience.30 When discussing the various locations of the mural, he noted that “the project is still accessible; site specific sections are displayed in prominent places in the Dunedin community. Ideas around mental illness and recovery are still being communicated, and hopefully the project may still be inspiring for some.”31
Jack Becker, a writer for the „Americans for the Arts‟ publication Monograph, argues that the experience of viewing public art is dynamic; the relationship between the work and its site, its audience, and other contextual factors all contribute to its impact.32 Every site comes with an audience, and public art can teach viewers about the diverse cultures inhabiting our community and invite them to consider the role of art and artists in our society.33 When considering the public installations of Life, the Universe and the 420 Centre, the context of where the murals are placed helps to further enhance both their meaning and the viewing experience, whilst cultivating civic
28 Carl Grodach, “Art Spaces, Public Space and the Link to Community Development,” Community Development Journal 45 (October 2010): 475. 29 Grodach: 476. 30 Douglass, “Project Report”: 128. 31 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 June, 2011. 32 Jack Becker, “Public Art: An Essential Component in Creating Communities,” Monograph (March, 2004): 6. 33 Becker: 9. 29 dialogue.34 Placed in high traffic public locations, the murals are able to reach audiences who do not commonly attend museums, galleries and theatres, and Douglass was able to deliver messages unfiltered by other influences, agents or media that can often dominate conventional art spaces.35 Through the public installations of Life, the Universe and the 420 Centre, a sense of pride and community identity was engendered. Douglass has observed that “participants and associated friends and family were generally very proud of their artwork during the exhibition. Because it is now installed in the community people are able to remember the experience and still draw on this sense of pride.”36
The Dunedin Public Hospital has installed the mural on the left wall of the main entranceway on Great King Street (fig. 13). This prominent location allows not only hospital visitors to view the work as they walk into the building, but it is also highly visible to pedestrians and passersby. An accompanying blurb explaining the significance of the mural was also installed in the nearby doorway (fig. 14). Hospitals ultimately are designed to be functional rather than beautiful, but the Dunedin Public Hospital is part of a growing trend to employ art in hospitals to “enhance” the lives of patients and visitors. 37
The Dunedin Public Library installed a section of the mural in May 2008. The mural is in the main stairwell within the front foyer, and it is visible from the main entrance (figs. 15 and 16). The section of mural that the library has acquired fits into its environment very well, and the colours from the mural stand out within the space. People are easily able to view the mural, but disappointment arises from a lack of accompanying information. Life, the Universe and the 420 Centre requires this contextual information so that interested members of the public can understand how and why it was made in order to fully appreciate it. The section of the mural that has been installed at PACT Otago is also located on the main stairwell, visible as you enter the building (fig. 17).
34 Becker: 6. 35 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 June, 2011. 36 Ibid. 37 Jeremy Hugh Baron and Lesley Greene, “Art in Hospitals: Funding Works of Art in New Hospitals,” British Medical Journal 289 (December 1984): 1731. 30
The Wakari Hospital installation is located in the Helensburgh House, in the reception, where it was installed in early 2009 (figs.18 and 19). The installation is broken up into sections and not contained in one complete mural, so it does lose much of its impact. The installation was arranged just as Douglass was preparing to relocate to Australia. Because of this, Douglass was unable to assist with the installation of the project and some of the panels were assembled out of order. Douglass has only been able to view photographs of the installation and was disappointed at how the installation was handled. He intends to revisit the Wakari Hospital installation and fix the panels, but in the meantime is still pleased to have part of the project presented.38
For Douglass, the public installations of the mural marked the end of his direct involvement with both the project and the 420 Centre. He has since relocated to Melbourne, Australia, where he has continued to coordinate and work on large scale art projects with community groups. “Since the conclusion of the project, I‟ve been developing ideas and working on other collaborative projects with marginalized groups. For me, the project (Life, the Universe and the 420 Centre), reinforced the idea that art can make a positive social impact, and that my skills can benefit a community.”39 Douglass is currently working on the Vietnamese Dragon Project, a collaborative arts project involving Vietnamese people who experience mental illness and their associated communities, carers and families. The project will be completed by November 15, 2011, in time for a festival launch and will continue to be used in Chinese New Year celebrations. Douglass‟ most recent project was I Am (2010), and also involved people within the mental health community in Melbourne.40 It was displayed in Federation Square in Melbourne‟s central city and took the form of a more conventional exhibition, featuring wall hanging works, video and sculpture.
Undoubtedly some locations of the mural function better as a space for the display of community art more than others. In both the Dunedin Public Library and the Dunedin Public Hospital the mural has been well displayed and is easily accessible to the viewing public. Both the Wakari Hospital and PACT installations appear to be much more private, as they are not in sites normally reached or accessed by the public. In terms of location, display and accessibility, the section of the mural at the Dunedin
38 Adam Douglass, interview by the author, Dunedin, New Zealand, 29 June, 2011. 39 Ibid. 40 Adam Douglass, interview by the author, Dunedin, New Zealand, 26 July, 2011. 31
Public Hospital is the strongest. Despite this, the mural at the Dunedin Public Hospital still goes unnoticed and unacknowledged by passersby. For the patrons of the 420 Centre, participating artists and Douglass, the installations serve as a constant reminder of what they accomplished. The mural continues to be displayed within the public sphere in order to provide a visual example of community togetherness, whilst encouraging civic dialogue about issues relating to mental health – an aspect of the project that was of considerable importance to the participants. 32
Chapter Three
Challenging the Conventions of Traditional Art Practises.
Healing Poison
Scratch the surface then start digging There‟s no destination in these visual portals; tales told forever. Destruction, erosion, the blue buzz of sadness, pointing fingers, a kicked heart, all yield to one, two, seven colours and dust in between becomes a hug to the face. Escape. Escape and bring something back. Escape and have something to give. Communicate, unite, combine, sing. A chorus on stilts
A poem about Life, the Universe and the 420 Centre by Mike Cooke, participating artist.1
This chapter examines the challenges Life, the Universe and the 420 Centre places on conventional ideas about art. The creation and subsequent display of the mural introduced process and dialogical art practises, issues about ownership and authorship, and the limitations a gallery setting can impose. This discussion of conventional art ideas will also consider to what extent was the creation of the 420 Project art therapy.
The Art Making Process and the Dialogical Aesthetic
When viewing Life, the Universe and the 420 Centre, the question arises of what was more important during its creation - the final result or the process it took to get there? „Process art‟ refers to art in which the end product is not the primary focus of the work. Process art sees art as a kind of pure human expression, deriving from some
1 Mike Cooke, “Healing Poison,” in Life, the Universe and the 420 Centre, exhibition catalogue, ed. Adam Douglass (Dunedin: Blue Oyster Art Project Space and PACT Otago), 13. 33 kind of motivation, perhaps for change or transience.2 The „process‟ relates to the journey of collation and creation put into action during the making of the artwork. Process art and the importance of art making have grown in significance throughout the art world since the 1960s.3 When creating Life, the Universe and the 420 Centre, the motivation was for people from the mental health sector in Dunedin to be heard, accepted and understood within the broader community as well as to experience the positives that come from the process of art making.4 It is widely believed that art making can be a powerful process that promotes self-expression, self-awareness, communication, transformation and introspection. The act of creating the mural allowed these benefits to be achieved by the participating members of 420.5
The painting of Life, the Universe and the 420 Centre was inherently important to its final completion. The weekly sessions of getting together and intermingling with local artists and volunteers created an environment for members of the 420 Centre that was ripe for imagination, inventiveness and confidence. Working together to create something helped cultivate a sense of community, family and support. Rose, a patron of the 420 Centre, noted that “every person, staff, all the artists from all over Dunedin, wherever, have done one big contribute to the 420 centre.”6 The importance of bringing something to fruition cannot be underestimated when undertaking a project like this. Seeing the final product gives a sense of self satisfaction. In a large collaborative work such as Life, the Universe and the 420 Centre, a sense of belonging to the community may also be created.
For Douglass it was the process of creating Life, the Universe and the 420 Centre that was of greatest importance. He believes that “the process is as important as the finished object.”7 As the coordinator of this large scale art project, Douglass
2 Sydney Walker, “Understanding the Art Making Process: Reflective Practise,” Art Education 57, no. 3 (May, 2004): 12. 3 Lucy R. Lippard. Six Years: The Dematerialisation of the Art Object from 1966 - 1972 (Los Angeles: University of California Press, 1997), 5. 4 Adam Douglass, “Project Report: The 420 Project, Life, the Universe and 26 Stafford Street,” Scope (Art) 2 (November, 2007): 124. 5 Bruce L. Moon, Existential Art Therapy: The Canvas Mirror, 3rd ed. (Springfield, Illinois: Charles C. Thomas Publisher, 2009), 13. 6 Rose, interview in The Mural, documentary directed by Katrina Jones (Dunedin N.Z.: 2007), DVD. 6 Douglass, “Project Report”: 128. 34 perceived his role as the facilitator of a healthy and creative environment. He encouraged everyone to be themselves, to do what they felt and not to be pressured to take part if they did not want to. Douglass recognised the substantial impact creating the mural had on himself:
I have learnt so much from the patrons of the centre; so much wisdom. Many of the people who use the centre have experienced a lot of suffering and have thus developed non-judgemental, accepting attitudes, compassion, openness, honesty, spontaneity and some pretty wicked humour too! The project has been positive because a section of the community has experienced and expressed some of these qualities together.8
Douglass gained much from working with the members of the 420 Centre, which he saw as a privilege. Douglass was able to acknowledge the impact that creating a work such as Life, the Universe and the 420 Centre could have on both its visitors and creators. He argues:
A step inside the creative process – walking, talking and interacting in an artwork, and turning the everyday world into art – can potentially heighten an experience; can create the sensation of being more fully present in a particular moment in time; and can potentially extinguish some feelings of anxiety. The idea of „living an artwork‟ can be a positive subjective truth.9
Douglass believes that through participating in the making of an artwork, its contributors were able to significantly benefit from the experience.
For the participating artists from the 420 Centre, it was a definite combination of the processes of both creating and exhibiting Life, the Universe and the 420 Centre that proved to be equally beneficial. The process of creating the mural allowed the members to discover new skills they did not think they possessed and, in turn, to gain confidence in themselves as capable individuals. The process of creation gave them a way to express themselves however they wanted, without restrictions or pressure. They could depict something personal or something completely unrelated to themselves or their experience. The process of creation also allowed them to interact and meet diverse artists. The local artists served the role of inspiring, educating and generally being good company. Working on the project, a sense of community was developed between the patrons of the 420 Centre and the participating artists. Meeting participating artists on
7 Ibid. 8 Ibid. 35 the street, the 420 members would have the confidence to say hello. Rose from the 420 Centre observed that “all the artists who have been in the wider community have become part of the family [of the 420 Centre] too.”10 This project helped to expand the 420 patrons‟ experience of the world of art making through the involvement of the Dunedin community. Dunedin artists not only participated in the work but became intrinsically involved through the relationships they forged with members of the 420 Centre, many of which have been enduring. This project also undoubtedly helped to extend the community of artists within Dunedin, as members of the 420 Centre recognised that through their contribution to the mural they too were worthy of being called artists.
Life, the Universe and the 420 Centre is a testament to how successful a community based art project can be. As this project was highly focussed on aspects of creation and collaboration, it is interesting to consider whether it has maintained its significance within the community following the public installation of sections of the mural. As with much community art, works are often acknowledged only in the public‟s peripheral vision; community art is something that people often just walk past. When a mural such as this is placed in a gallery space, it is impossible to ignore, and the viewer is made to stand and acknowledge the work, ask questions and find information out about it. Without prior knowledge or accompanying didactic information, it is impossible to establish the meaning of this kind of community artwork. In her article “Public Art: The Problems and Potential of Multiple Meanings,” Valerie Holman argues that “visual literacy cannot be seen in isolation, for how we read depends as much on what we bring to our reading as it does on the text or image we seek to understand.”11 As with much community installed artwork, the mural is now „seen without being seen‟ by hundreds of people every day, proving that in order to fully appreciate this project, the process that occurred during its creation needs to be recognised.
Life, the Universe and the 420 Centre, like most community based artworks, is of a dialogical nature. Dialogic art is art that relies upon the aspect of communication in the creation or performance of the artwork. This could relate to the artist
10 Rose, interview in The Mural. 11 Valerie Holman, “Public Art: The Problems and Potential of Multiple Meanings” NSEAD 16 (1997), 127. 36 communicating with a certain group in society as a means of creation or direction, or the artist creating an object or installation to facilitate dialogue. The dialogue that accompanies Life, the Universe and the 420 Centre was facilitated throughout the entire creation of the project, when everyone was encouraged to interact with each other not only on an artistic level, but also a personal one. Dialogical art grew from the backlash against the extreme limitations of Clement Greenberg‟s artistic formalism of art practises during the 1960s and 1970s.12 Grant Kester, a professor of art history at the University of California, is a leading figure in the emerging critical discourse concerning “relational” or “dialogical” art practices.13 He argues that “While it is common for a work of art to promote dialogue among viewers, this typically occurs in response to a finished object. In these projects [dialogical artworks], on the other hand, conversation becomes an integral part of the work itself.”14 This argument is true of The 420 Project, as one of the main aims Douglass stated when conceiving the project was to establish a forum for discussion about mental health. Kester argues that the difference between an object-based artwork and a dialogical work is that the viewer‟s response has no immediate mutual effect on the creation of the object-based work. Because of this, the object essentially remains static, whereas “dialogical projects in contrast, unfold through a process of performative interaction.”15 This performative interaction that Kester describes can be observed in both the weekly art sessions held at the 420 Centre and the Blue Oyster exhibition, where the mural was not only created but also discussed.
While the opening of the Blue Oyster exhibition marked the final stage of completion of Life, the Universe and the 420 Centre, the work was far from being finished. As the mural‟s dialogical function persisted, so did the extension of the artistic community in Dunedin. The dialogical nature of Life, the Universe and the 420 Centre was apparent as people from all areas of the community continued to talk about mental health, and continued to create panels throughout the period of exhibition. This continuation of the creative process had a significant impact, merging the public with members of the 420 Centre and thus creating a situation that otherwise never would
12 Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art (Los Angeles: University of California Press, 2004), 9. 13 Grant Kester‟s Website, http://www.grantkester.net/ 14 Kester, Conversation Pieces, 8. 15 Kester, Conversation Pieces, 9. 37 have occurred. The benefits of this were important for those in the mental health community, particularly through the awareness that was raised. It was through working together to create something significant and special that was the standout triumph of the entire creative process.
Douglass understood that the artist‟s role could be expanded to facilitate the artworks‟ inherent dialogical nature, and he references Kester in his post project report. Kester states:
We typically view the artist as a kind of exemplary bourgeois subject, actualising his or her will through the heroic transformation of nature or the assimilation of cultural difference – alchemically elevating the primitive, the degraded, and the vernacular into great art. Throughout, the locus of expressive meaning remains the radically autonomous figure of the individual artist. A dialogical aesthetic suggests a very different image of the artist; one defined in terms of openness, of listening and a willingness to accept intersubjective vulnerability.16
Douglass believed that the dialogical aesthetic of Life, the Universe and the 420 Centre benefited him personally as an artist and also led to the general success of the mural. It was the mural‟s dialogical nature that enabled people to begin to acknowledge and accept those with mental illness. The dialogues engendered by the project raised the issue of the stigma that is attached to mental health and through the cooperation of participating artists and members of the 420 Centre, that stigma was broken down.
Challenges to Conventional Ideas of Art
In many ways Life, the Universe and the 420 Centre challenges conventional ideas about art, especially what constitutes art and why it is created. Through its exhibition, its many contributors, different subjects and multiplicities of meanings, The 420 Project is able to distinguish itself from more traditional art practises and artworks.
As a whole, the mural appears to fit in with the ideas that are associated with contemporary art. As Bridie Lonie observes, “contemporary art theory is concerned with a movement away from the view of 'artwork as commodity' and toward the sense
16 Douglass, “Project Report”: 128. 38 that it's a collective, shared project in which encounters between people, objects, values and beliefs occur.”17 The French curator and art critic Nicholas Bourriaud describes this as “relational aesthetics.” This description of contemporary art is true of The 420 Project not only because it was created by a large number of people, but also because it is a community-based and displayed work, centred on the issues surrounding mental illness. Another issue raised is the question of ownership. It is difficult to say who legally owns the work, as through being placed in the community it now appears to belong to everyone. Furthermore, the very nature of what is presented within the mural challenges the notions of ownership, as various ideas blend, conflict and collide with each other, discouraging limits and the deciphering of narrative. This work was made not only for the benefit of the participating artists, but also for the benefit of its viewers, who are exposed to aspects of mental health in Dunedin as well as to a new way of creating contemporary art.18
Commonly a piece of art is attributed to a singular artist, but in Life, the Universe and the 420 Centre the concept of the individual artist is relinquished in favour of a multiplicity of creators.19 In the essay “What is an Author?” (1969), Michel Foucault defined the author function as what provides a work with a fixed meaning and ownership: “The author is the principle of thrift in the proliferation of meaning.”20 Foucault challenged the common understanding of authorship, arguing that the author is whoever can be understood to have created the work as the viewer interprets it. Foucault‟s interpretation of the author, or in this case the artist, is highly applicable in examining the authorship of Life, the Universe and the 420 Centre. This project has an underlying message relating to the mental health community, but because of the varied creators and subjects of the panels, the mural as a whole has no fixed meaning. Instead, it has a different meaning for each individual contributor. Although coordinated by one individual, Douglass, the randomness and mixed subjectivity are the result of all of the
17 Bridie Lonie, “A Place in the Universe,” in Life, the Universe and the 420 Centre, exhibition catalogue, ed. Adam Douglass (Dunedin: Blue Oyster Art Project Space and PACT Otago), 2. 18 Ibid. 19 Kathryn Mitchell, “Life, the Universe and the 420 Centre,” Art New Zealand 124 (Spring 2007): 37. 20 Michel Foucault, “What is an Author?” in Textual Strategies: Perspectives in Post- Structuralist Criticism, ed. Josue V. Harari (New York: Cornell University Press, 1979), 159. 39 contributing artists, making it hard to identify who takes authorship or even ownership of the entire piece.
The 420 Project also challenges society‟s common understanding of who can be an artist, whilst addressing why someone would even create a piece of art. Writing in Art New Zealand, Kathryn Mitchell clearly identifies these issues and ideas in her review of Life, the Universe and the 420 Centre:
The notion of the artist as a unique individual working on the fringes of society is deferred by anonymity and therefore the economic and authenticated value traditionally assigned to the artist's work as an individual genius or recluse is lost. The stigma of mental illness may be seen to be commonly aligned with the notion of artistic ability and with the notion of otherness. Here, a community of diverse voices stands united, seemingly unconcerned with attribution, acknowledgement, value and power but more with a desire to be heard as part of an ongoing, dynamic and critical dialogue on Life, the Universe and the 420 Centre.21 Mitchell notes that the artists who created this mural were not working for individual acknowledgement, but for a shared goal. Although Douglass is the individual who is mostly closely associated with the work due to his role as project coordinator, it was important to recognise that this was an artwork where everyone worked together, rather than a work that focussed on one individual artist‟s journey.
The continuation of the creative process at the Blue Oyster presented a challenge to the conventional notions commonly associated with art exhibitions. More traditional conceptions of art presume that only complete or finished work should be presented for display within a gallery or museum setting. However, Life, the Universe and the 420 Centre deliberately went against such expectations as the creative act persisted throughout its time in the gallery. Through continued creation, the mural promoted ongoing discussion of the issues presented by the project, such as mental health, neglect, and drug abuse. By disrupting the common conception of gallery display, the mural was able to fully engage with its audience.
Through its installations within the public sphere, Life, the Universe and the 420 Centre draws attention to the limitations of presenting an artwork in a gallery setting. Because it is now exhibited at a various number of other public spaces, including within institutions of the educational and health sectors, the mural was able to relieve itself
21 Mitchell: 37. 40 from the confines of a contemporary art space, a space which ultimately is imbued with its own issues of authority and accessibility. Mitchell notes that “A variety of spaces assures a level of accessibility to the wider community rather than attempting inclusion exclusively from within the arts community.”22 Placing the mural in the public sphere allows people from diverse parts of the community to view the work outside the confines of a private gallery setting, an exclusive space that may hinder access or delimit ideas or thoughts about the piece. Removed from the gallery setting, the mural is able to stand alone and push people who would never have otherwise seen it to consider how they address the issue of mental health.
Life, the Universe and the 420 Centre highlights the idea of equality through art, with no panel being more significant than another. Although the actual core structure of the mural is very ordered with numbered panels, the works held within this framework are anything but structured and organised. There was no composition involved in determining who would paint what square, and the effect of this randomness is evident within the mural. While there is some suggestion of cohesion created through the use of colour and the linking of the silhouettes, no clear hierarchy is present.23 Through the process of creation the panels appear to be completely random, with panels by professionals are scattered anonymously amongst those by patrons of the 420 Centre. The viewer has to realise that it is the entire mural, every panel working together to create one artwork, which is ultimately of most importance. The mural is about equality and the unification of a community, making the idea of hierarchical practise within the mural antithetical.
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Was Life, the Universe and the 420 Centre Art Therapy?
Undoubtedly, the creation of Life, the Universe and the 420 Centre was beneficial to all who participated, but it was the participating members of the 420 Centre who experienced the biggest impact. Many of the participants‟ self confidence, pride and happiness grew throughout work on the project, suggesting that the creation of the mural was in fact a healing process. The idea of healing suggests that making the mural was a kind of art therapy, but was it?
22 Ibid. 23 Ibid. 41
Art therapy is defined in several different ways, but has come to be commonly understood as a form of non-intrusive psychotherapy that uses art as its main form of communication.24 Art therapy aims at building, restoring and maintaining the mental, emotional, physical, and spiritual well-being of people. It is based on research showing that creation and creativity through self-expression can be both healing and life- enhancing.25 Art as therapy not only includes visual art, but also dance, performance and music. Art therapy lies at the intersection of art and psychotherapy. Approaches may vary as they favour either the art-making process as therapeutic in itself or the psychotherapeutic process between the client and the therapist.
When looking at Life, the Universe and the 420 Centre as a therapeutic art project, there are two separate art therapy based ideas that may be applied to the creation of this work. The first idea is that art can be used as a “civilising” activity.26 This idea has its origins in the eighteenth century in England, when patients of psychiatric hospitals or sanatoriums were encouraged to create art as “a way of bringing their thinking and feeling into line with the notion of civilised behaviour.”27 Unlike today, painting and sculpture at that time were seen as expressive of the notions of the culture first and individuality second; the art produced by patients was modest and inexpressive. This is entirely different from the art we would expect to be produced by those with mental illness today, and this notion of self-expression has led to the production of a set of practises known as „arts access‟ or art that is available to all.28 Bridie Lonie comments: “In this context, art is as good for its maker or as bad as its content and focus. It can be beautiful, expressive, funny, sexual, angry, destructive, challenging, good, bad, indifferent; skilled or unskilled.”29 When people with a mental illness make art in this way, they are creating in the same manner that any non-artist might make art: as recreation, exploration or creativity for its own sake.30
24 Andrea Waller, Group Interactive Art Therapy: Its Use in Training and Treatment (London: Routledge, 1993), 7. 25 Cathy Malchiodi, ed., Handbook of Art Therapy (New York: Guilford Press, 2003), 1. 26 Lonie, 1. 27 Ibid. 28 Ibid. 29 Ibid., 2. 30 Ibid., 2. 42
The second idea about art therapy is that art is intrinsically expressive, that someone will always create something as an expression of their individuality. In relation to this idea, the art that the clients are encouraged to make is predominantly used to evoke feelings or responses that might be obstructing their mental health. When art is used in this sense, the therapist plays a large role, as the artwork is used as a tool in the encounter between client and therapist. This is presently the most widely accepted concept of the term “art therapy.”31
With these two ideas in mind, Life, the Universe and the 420 Centre is not properly conventional „art therapy‟; the works that are made are no more or less expressive of someone‟s mental state than those of any artist, and they were not made in an environment where the art was created as a tool for psychotherapy.32 In relation to this project, the creation of the mural suggests a blending of the two aforementioned ideas. It should be noted, however, that the works (the individual panels) were made in a particular context. They were part of a group project, and therefore the works demonstrate a desire to “civilise” the participants, to enable them to fit within a broader society and to create new relationships.
Another aspect of art therapy related to The 420 Project is the idea that people are influenced by their environment. This idea values the concept of working in a group and the group dynamic, with its ever changing moods, feelings and emotions. Bridie Lonie comments: “Art has often been seen as the choice of a single person, whether artist or consumer; their choices of what they like and respond to representing their taste, their deep desires, their inner self. But in making such a project as this, the group dynamic is likely to take over.”33 This means that the manner in which a group operates will ultimately have an impact upon the outcome.
Life, the Universe and the 420 Centre was always intended to be a group project, with the healing aspect coming from the idea that everyone was going to work together to create something. This gave those who took part assurance that they were accepted and played an active part in the community, whilst highlighting issues relating to mental health. With the “group therapy” concept in mind, Douglass established the
31 Waller, 7. 32 Lonie, 2. 33 Ibid. 43 parameters of the mural in a way that everyone was on equal terms with one another. Douglass facilitated a functioning creative environment that was non-judgemental and nonexclusive. The 420 Project offered a blank template through its shared form, a shared set of resources and a shared set of behaviours. As Kathryn Mitchell notes: “The artwork‟s consistency, indeed its ability to be read as a single work made up of many parts, reflects a mixture of single and collective decisions. The collective decisions have been made by each member of the group as they consider where their work fits into the grid.”34 Douglass set up blank panels so that people could choose which board they wanted to paint, the choices they made creating a record of interactions throughout the artwork.35
Even though the creation of Life, the Universe and the 420 Centre does not fit in exactly with the most common understanding of art therapy, the therapeutic aspects of creating the mural are undeniable. Through working on this project, the participants, both the 420 members and the local artists, have not only been affected emotionally, but their histories have all been altered in some degree through their participation, and the community of artists in Dunedin has been widened.36 Although it is arguably true to say that it was the members of the 420 Centre who benefited most from the process of creating the mural, several of the local artists who participated also found themselves gaining a lot from the experience of working with people who are recovering from mental illness. Working on this project was not just another creative opportunity, but an opportunity to give something back and make a difference within the community. Douglass argued, “The 420 Project, I believe, was beneficial for the patrons in terms of integrating them with a wider community outside of mental health services. Artists, on the other hand, were introduced to an important sector of society, a sector which is often overlooked, even though they can offer so much.”37 For the members of the 420 Centre the participating artists created a link to the outside world, aiding in their confidence to become and recognise themselves as an active member of the community.
Simon Kaan, one of the participating artists, highlighted the therapeutic aspects of the project: "It's often hard to communicate; it's hard to say something out loud for
34 Mitchell: 37. 35 Ibid. 36 Lonie, 2. 37 Douglass, “Project Report”: 127. 44 fear of being ridiculed or being wrong. This place was different; the work was already talking when I walked in. On these panels I felt free to speak and so it seemed only polite to pick up a brush and say hello."38 Kaan's remarks about working on the mural help to clearly identify the aim of the project that Douglass wished to achieve: to establish an open and free environment and to provide an institution for discourse and awareness of issues surrounding mental health and the stigma related to it. Another participating local artist, Jeffrey Harris, enjoyed his involvement for a different reason. Harris states: "It was a pleasure to contribute to the project - so far away from the endless hype and self-promotion of the so-called official art world where 'style over substance' has been the norm for so long."39 Greg Lewis, another participating artist, is in agreement with Harris. Referring to his time spent at the 420 Centre, Lewis recalled that “it was great to get down from my ivory tower, I enjoyed being part of a community.”40
As an institution, the 420 Centre also benefited from this process. Through the exhibition and the accompanying documentary, the creation of Life, the Universe and the 420 Centre raised awareness of the systems and organisations Dunedin has in place to support those who are recovering from or living with a mental illness. As well as the exposure that was achieved for the 420 Centre, a growing awareness and support was also achieved for PACT Otago, as the public was visibly able to see this organisation‟s contributions to the community. Because of the success of the project at the 420 Centre, The Apartment now continues to encourage the practise of art making, with the ongoing financial support of PACT Otago. Several 420 patrons who were introduced to painting and creating during the process of Life, the Universe and the 420 Centre have also continued to practise their art as a therapeutic way of expressing themselves.41
38 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): 101. 39 Ibid. 40 Douglass, “Project Report”: 127. 41 Patrons from the 420 Centre, “Art helped raise mental health awareness,” Otago Daily Times, 30 July, 2007. 45
Conclusion
Life, the Universe and the 420 Centre was a highly successful art project. As an artwork, it displays raw emotion, vibrancy, a dynamic style and an eye-catching use of colour. The installations of the mural throughout Dunedin are visually pleasing and functional within their chosen locations. As a community project it achieved a successful collaboration between people from the mental health community and participating local artists. From this collaboration these two groups of people were able bridge the gap that societal values and assumptions have created between those with mental illness and those without. The project thus showed that it is possible to work and make something together.
The positive impact creating this mural had on participants, particularly those from the 420 Centre, has proven to be invaluable. For the members of the centre, participating in the creation of this work allowed them to gain self-confidence through working and creating with other members of the community. Through the art sessions Douglass organised, members were able to create and express themselves in a supportive environment, whilst working with others and sharing a common goal. Everyone was able to participate in a productive opportunity to experiment with art and develop new ideas and perspectives. In the creation of this artwork everybody played their part, no matter how small.
The exhibition of the finished mural allowed the 420 Centre members and the participating local artists to enjoy a sense of excitement and pride at what they had achieved. At the opening, all were given a chance to show off their work and feel like active members of the community. Both the accompanying documentary and the public installations of the mural serve as continuing reminders of the success of the project. The contextual locations of the installations highlight the relevance of the mural to mental health whilst providing Dunedin with some interesting and vibrant community pieces. Through the public installations of the mural, viewers have the potential to develop an appreciation for other perspectives.
Through discussion of the broader themes, questions and issues that this project involved, it is possible to better understand its significance as a community art piece. By highlighting the positive therapeutic aspects of The 420 Project, I have sought to 46 demonstrate the benefits of both art practise and art therapy. This project is a perfect example of how art can strengthen self-belief, self-confidence and community spirit.
Most importantly, this dissertation has drawn attention to a community artwork that should not go unnoticed. Life, the Universe and the 420 Centre is a mural worth acknowledging because it offers not only a view into the lives of those who are living with mental illness, but also a look into the other many, very different lives, views and ideals of the wider Dunedin community. It is a truly collaborative work. This mural has the ability to be able to show you sad, happy, funny, melancholic and wacky emotions within an all-encompassing artwork. This project is an asset to the broader Dunedin community, and it has also helped members of the 420 Centre to feel themselves to be an important part of this community. With knowledge of the creative process behind the project, viewers of the work learn not to make assumptions and underestimate the abilities of those with mental illness.
Like many community art installations, Life, the Universe and the 420 Centre has begun to almost blend in with its surroundings. Working on my research for this dissertation, I realised the broader importance of writing about the mural for the local community. By writing about The 420 Project, I participate in the renewal, refreshment and persistence of Life, the Universe and the 420 Centre within the public sphere, where it will hopefully remain for years to come, continuing to address the issues relating to mental health and creating a forum for discussion. 47
BIBLIOGRAPHY
Primary Sources
Published “Art Helped Raise Mental Awareness.” Otago Daily Times, 30 July 2007. Benson, Nigel. “Painting in the round embraces everyone.” Otago Daily Times, 28 June 2007. Douglass, Adam, ed. Life, the Universe and the 420 Centre. Exhibition catalogue. Dunedin: Blue Oyster Art Project Space and PACT, 2007. Douglass, Adam. “Project Report: The 420 Project, Life the Universe and 26 Stafford Street.” Scope (Art) 2 (November 2007): 124-129. Wellington, Catherine. “Art caught on film: Documenting life, universe and 420 Centre.” The Star (Dunedin), July 12 2007.
Unpublished Douglass, Adam. “The 420 Project,” Project Proposal submitted to the Blue Oyster Art Project Space. 2006. Archives of the Blue Oyster Art Project Space: Dunedin.
Film The Mural. DVD. Directed by Katrina Jones. Dunedin N.Z.: Katrina Jones, 2007.
Interviews Douglass, Adam. Interview by author. Dunedin, New Zealand. 29 June 2011 and 26 July 2011.
Secondary Sources Armistead, Michelle and Adam Douglass. “Collaboration for healing: An inspirational art project breaks down the barriers to recovery from mental illness.” Artnews New Zealand (Summer 2007): 100-102. Baron, Jeremy Hugh and Lesley Greene. “Art in Hospitals: Funding Works of Art in New Hospitals.” British Medical Journal 289 (December 1984): 1731-1737.
Becker, Jack. “Public Art: An Essential Component of Creating Communities.” Monograph (March 2004): 1-16. 48
Campbell, Jo and Erika Wolf, eds. Old, New, Borrowed, Blue: 10 Years at the Blue Oyster. Dunedin: Blue Oyster Art Project Space, 2009. Darragh, Tamara and Kylie Sanderson eds. Artists: A Snapshot of Contemporary New Zealand Art Practice, 2007-2008. Auckland: Artigiano, 2009. Foucault, Michel. “What is an Author?.” In Textual Strategies: Perspectives in Post- Structuralist Criticism, edited by Josue V. Harari. New York: Cornell University Press, 1979, 141-160. Grodach, Carl. “Art Spaces, Public Space and the Link to Community Development.” Community Development Journal 45 (October 2010): 474-493. Holman, Valerie. “Public Art: The Problems and Potential of Multiple Meanings.” NSEAD Vol. 16 (1997): 127-135. Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Los Angeles, California: University of California Press, 2004. Lippard, Lucy R. Six Years: The Dematerialisation of the Art Object from 1966 -1972. Los Angeles, California: University of California Press, 1997. Malchiodi, Cathy. ed. Handbook of Art Therapy. New York: Guilford Press, 2003. Mitchell, Kathryn. “Life, the Universe and the 420 Centre.” Art New Zealand, no. 124 (Spring 2007): 36-37. Moon, Bruce L. Existential Art Therapy: The Canvas Mirror, 3rd ed. Springfield, Illinois: Charles C. Thomas Publisher, 2009. Plagne, Francis. “Adam Douglass‟ Alien Happening.” Scope (Art & Design) 4 (November 2009): 19-23. Plagne, Francis. “Implosion is Compulsory.” Implosion is Compulsory Exhibition Essay, 2011. http://www.adamdouglass.co.nz/implosion_text.htm Smith, Benjamin. “Artnotes: 420 Project.” Art Monthly Australia Issue 201 (July 2007). http://www.artmonthly.org.au/artnotes.asp?aID=4&issueNumber=201 Swindell, Alisa. “Challenging Consumption: Kara Walker‟s Keys to the Coop.” Gastrnomica Vol. 5 (Spring, 2005): 6-7. Walker, Sydney. “Understanding the Art Making Process: Reflective Practise,” Art Education Vol. 57, no. 3 (May, 2004): 6-12. Waller, Andrea. Group Interactive Art Therapy: Its Use in Training and Treatment. London: Routledge, 1993.
Websites Adam Douglass. http:// www.adamdouglass.co.nz 49
Pact Otago. http:// www.pactgroup.co.nz Blue Oyster Art Project Space. http:// www.blueoyster.org.nz Grant Kester‟s Website. http://www.grantkester.net/
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List of Figures
Figure 1. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Source: http://www.adamdouglass.co.nz/420_installation.htm (accessed 20/9/2011)
Figure 2. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Source: http://www.adamdouglass.co.nz/420_installation.htm (accessed 20/9/2011)
Figure 3. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Installation at the Blue Oyster Gallery, Dunedin Source: http://www.adamdouglass.co.nz/420_installation.htm (accessed 20/9/2011)
Figure 4. Adam Douglass in front of the mural, 2008 Image reproduced in the Otago Polytechnic Prospectus Source: http://www.adamdouglass.co.nz/Angela_Text.htm (accessed 20/9/2011)
Figure 5. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Detail of installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space. Source: http://www.adamdouglass.co.nz/Dark_side_5.htm (accessed 20/9/2011)
Figure 6. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Detail of installation of the mural in the Upper Gallery, Blue Oyster Art Project Space. Source: http://www.adamdouglass.co.nz/Upper_gallery_3.htm (accessed 20/9/2011)
Figure 7. Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space. http://www.adamdouglass.co.nz/Dark_side_2.htm (accessed 20/9/2011)
Figure 8. Phill, “Zig Zag Man” Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007. Detail of installation of the mural in the Close-up, Dark Side, Blue Oyster Art Project Space. Source: http://www.adamdouglass.co.nz/Dark_side_close_up_2.htm (accessed 20/9/2011)
Figure 9. Adam Douglass (Coordinator), The Psychedelic Circus, 2005 (cropped image). Photograph courtesy of Adam Douglass.
Figure 10. Adam Douglass (Coordinator), The People and the Tree, 2006. Photograph courtesy of Adam Douglass.
Figure 11. Adam Douglass, Out of Polygon, limbs, leap, crease, 2004. From the series The Jazz Blade Club. Mixed media on canvas, 1000mm x 1000mm. Source: http://www.adamdouglass.co.nz/artwork_jazz_blade.htm (accessed 20/9/2011)
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Figure 12. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space. Source: http://www.adamdouglass.co.nz/Dark_side_1.htm (accessed 20/9/2011)
Figure 13. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural outside main entrance of the Dunedin Public Hospital. Photograph courtesy of author.
Figure 14. Accompanying blurb outside main entrance of the Dunedin Public Hospital. Photograph courtesy of author.
Figure 15. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural in the main branch of the Dunedin Public Library. Source: http://www.adamdouglass.co.nz/420_DPL.htm (accessed 20/9/2011)
Figure 16. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural in the main branch of the Dunedin Public Library. Source: http://www.adamdouglass.co.nz/420_DPL.htm (accessed 20/9/2011)
Figure 17. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural in PACT Otago. Source: http://www.adamdouglass.co.nz/420_project.htm (accessed 20/9/2011)
Figure 18. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural in Helensburgh House, Wakari Psychiatric Hospital. Photograph courtesy of the author.
Figure 19. Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007. Installation of part of the mural in Helensburgh House, Wakari Psychiatric Hospital. Photograph courtesy of the author. 52
Figure 1
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007
Figure 2
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007
Figure 3
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007 Installation at the Blue Oyster Gallery, Dunedin
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Figure 4
Adam Douglass in front of the mural, 2008 Image reproduced in the Otago Polytechnic Prospectus
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Figure 5
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007 Detail of installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space
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Figure 6
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007 Detail of installation of the mural in the Upper Gallery, Blue Oyster Art Project Space
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Figure 7
Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007 Installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space.
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Figure 8
Phill, “Zig Zag Man” Adam Douglass (Coordinator) Life, the Universe and the 420 Centre, 2007 Detail of installation of the mural in the Close-up, Dark Side, Blue Oyster Art Project Space
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Figure 9
Adam Douglass (Coordinator), The Psychedelic Circus, 2005 (cropped image)
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Figure 10
Adam Douglass (Coordinator), The People and the Tree, 2006
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Figure 11
Adam Douglass, Out of Polygon, limbs, leap, crease, 2004 From the series The Jazz Blade Club Mixed media on canvas, 1000mm x 1000mm
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Figure 12
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of the mural in the Dark Side Gallery, Blue Oyster Art Project Space
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Figure 13
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural outside main entrance of the Dunedin Public Hospital
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Figure 14
Accompanying blurb outside main entrance of the Dunedin Public Hospital
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Figure 15
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural in the main branch of the Dunedin Public Library
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Figure 16
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural in the main branch of the Dunedin Public Library
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Figure 17
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural in PACT Otago
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Figure 18
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural in Helensburgh House, Wakari Psychiatric Hospital
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Figure 19
Adam Douglass (Coordinator), Life, the Universe and the 420 Centre, 2007 Installation of part of the mural in Helensburgh House, Wakari Psychiatric Hospital