Roots of Community and Routes to Healing with Art

Canadian Art Therapy Association Journal ISSN: 0832-2473 (Print) 2377-360X (Online) Journal homepage: http://www.tandfonline.com/loi/ucat20 Roots of Community and Routes to Healing with Art Isabel Fryszberg To cite this article: Isabel Fryszberg (2000) Roots of Community and Routes to Healing with Art, Canadian Art Therapy Association Journal, 14:1, 20-26, DOI: 10.1080/08322473.2000.11432245 To link to this article: https://doi.org/10.1080/08322473.2000.11432245 Published online: 06 May 2015. Submit your article to this journal Article views: 20 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ucat20 ROOTS OF COMMUNITY AND ROUTES TO HEALING WITH ART Isabel Fryszberg B.Sc. O.T.© Abstract: "All of us have stories, places where we come from that we can explore, celebrate and share. These are our roots. These roots, when carefully nourished, can strengthen our sense of self and help to inform us and each other ofwho we are and can bring us together in the most enriching ways. Taking this journey of discovery, dealing with this year's theme, Routes to Community, Roots of Community, has not been easy. There are places of hurt, shame, and injustice that surfaced. It takes courage and support of community to step out and be surprised by the insights that can heal those areas that you thought you could never enter. " These words are an excerpt of an opening speech that I prepared for the Creative Works Studio's annual art exhibit on November 16,2000. The event was held at Mustard Seed, our new studio and gallery space at 753 Queen Street East, in Toronto. The Creative Works Studio is an alternative form of community health programming for adults. There, I work as a mental health occupational therapist and artist. I have combined these skills to facilitate an outreach program that enables storytelling and its exploration, celebration, and sharing. This program and process empowers the finding of roots and taking routes to healing pain-filled experiences. The Creati ~ e Works Studio operates as a community art and economic development initiative of the Inner City Health Program of St. Michael' s Hospital. The studio is composed of a diverse group of people receiving mental and/or physical health services who come together as artists to create. Most of our artists have had no formal training or previous experience in artistic endeavours. The mandate of the Creative Works Studio is to use art as a tool for healing, developing a caring community, fostering economic development projects and generating publ,i.c awareness of inner city and mental health issues. As an occupational therapist, my role is to help people :find purposeful meaning in their lives and achieve a mastery of skill sets that help them cope in their every day life. Consciousness is painful, and takes time, and not everybody, as I have learned, is willing, or has the inner resource to walk this path. For those who do have an inner resource to walk this path, Community Art provides them with opportunities in mastering social skills and discovering creative artistic skills. Through the art making process, they gain self awareness, growth, and a new sense of self confidence. For some, it is enough to know that they can produce something that is received well by others, either verbally or by a sale and this helps to increase self esteem. Others benefit from the interactions, friendships and community they have found in the group, knowing that they are less isolated and not alone. It is a fine balance to keep this all going. At times, the sale and high of a show does not always lead to doing the internal growth work that is equally needed. Some people say, " I just want to do art, I don't want to deal with my feelings or mental illness." Originally, the program began as an expressive art group in a hospital setting. With hospital changes, program cutbacks and mergers, money was being funnelled toward community outreach programs for people needing follow up care. This resulted in a decrease in hospital treatment/rehabilitation programs - with the understanding that such programs should be available in the community. Unfortunately, the government funding was not catching up with these new community demands. As a result, our program lost our original working space in the hospital and was at risk of being cut. We took action and found temporary space in a community setting at a city's parks and recreation centre. This space in tum soon became another unstable factor in that it, too, was constantly under threat of being lost to other city programs. For the Creative Works Studio, a pivotal moment occurred when we decided to have our first public show, "We Deserve the Colour of Joy" at the hospital and began to transform the hospital hallway into an art gallery. THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 14, No. 1 2000 20 Here we truly began to engage our mandate to educate the public regarding inner city and mental health issues through this art work. Integral to this show was looking at the wider issues of stigma related to mental illnesses and the challenges of respecting people' s human rights and dignity when dealing with such a widely misunderstood illness. The paintings were a powerful way to educate both the public and hospital staff. Eighty percent of the art work was sold. An outcome of the success of the show was the publication of our first calendar in 1998, also entitled, "We Deserve the Colour of Joy." Through the support and sponsorship of businesses, corporations and drug companies such as Scotia Bank, the Toronto Sun, and Lundbeck, we succeeded in printing and selling the calendars at various bookstores and gift shops across Toronto. The following year we were faced with the challenge of finding permanent space or a home for our program. Simultaneously, the theme of 'home' became the focus of our art and our next exhibit, "The Home Show" which was held at Toronto City Hall. This exhibit was based on developing cardboard box installations 4ft x 3ft x Sft deep, representing our diverse interpretations of 'home,' from a physical space to feeling at home in one's skin, body, neighbourhood, and community. We developed our calendar for the upcoming year entitled "Home, Hearth and Hope for the New Millennium," featuring the art work from our show at City Hall. The production for the calendar involved choosing fourteen images, one for each month and one each for the front and back covers. As well, creating a general mandate statement and collecting the artists' statements, to accompany each one of their illustrations, was an integral part of the process. Funding for the printing was made possible by involving twelve sponsors whose logos were individually featured on the bottom of each page. The expertise of a professional designer was contracted to assist in the layout, design, and production of the calendar. The calendar has been a vital part of the economic development aspect of the program. A silent auction at the City Hall together with calendar sales raised enough money to cover printing costs, pay each artist for their work, and buy art supplies. Members gained a new sense of pride in themselves and in each other through their accomplishments. In addition they also received positive public recognition for their work. In June 2000 Creative Works Studio finally found a home in the South Riverdale neighbourhood. The Sisters of St. Joseph of Toronto sponsor multiple community programs at Mustard Seed. The new space we share with them serves as a studio workspace and gallery for us. This safe place has been a monumental catalyst for members to develop a sense of strength and autonomy as well as a deeper sense of community and security. For the next show, our brainstorming led to, "Routes to Community, Roots of Community." A member suggested using recycled computers. Some people responded by incorporating computers and television sets into their art. Others chose cultural, familial, personal and environmental themes. As people completed their individual expressions, new forms of collaborative ideas began to flow from the group. Two members appeared with a bundle of branches picked up off the street. After brainstorming many ideas arose inspiring the development of an "archway to community." This piece welcomed public viewers as they entered the studio. The second unexpected creative outburst was the piece called "Taking One Step on Our Route". This 2 ft x 8 ft acrylic canvas features an assortment of shoes including baby shoes, ballerina slippers, running shoes, fanciful shoes, high school prom shoes, and a contemporary retelling of the traditional nursery rhyme "There was an old woman who lived in a shoe." The new version depicts, "There was a disabled woman who got evicted from her fancy high-rise shoes." Part of setting up the studio and preparing the space for the show was developing ·and designing a quiet meditative room. Elaine, a member of the Creative Works Studio was formerly a children's fashion designer until she suffered from post-partum depression. She used her skills in creating the place of beauty. She covered old plastic sofas and chairs with fabric chosen by the two of us. She created decorative pillows and fanciful frames for paintings, which hang a on the door. On the cold white wallpipe she drap~ soft gauze fabric adding to the. tranquillity of the room. THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 14, No.1 2000 21 Transforming the studio space into a gallery completed preparation for the exhibit. Under the guidance of artist friend and curator Rene Packer, two members, one a woman who has an extensive engineering background together with a man who has an art background,actively changed the atmosphere of the room within six hours into a vibrant living gallery. Invitations for the week long show featuring one of the member's artwork was printed and distributed to diverse organizations and to the surrounding inner city community. Figure 2, "Thank You." She Wrote: "If I knew how to remove the ghosts that form this wall, my new landscape of Canada would be complete. Perhaps the new roots can weaken the walls." On the opening I was unable to be present because of the unexpected death of my mother. The impact of my own personal loss drew the community closer together. Members of Creative Works Studio felt moved to work together to make a success of this event realizing the amount of effort that was entailed in preparation for the opening. Representatives of St. Michael's Hospital congratulated the artists and welcomed the guests to view the power and beauty of their work. Juanis, a single mother and Spanish speaking member of the Creative Works Studio had just gained her landed status in Canada one week prior to the show. Her artwork has been a means of working through her post traumatic stress. disorder and depression. "Oxygen Bubbles" (Figure 1) emerged at a time of deep depression. WitJj the group's encouragement, the artist made a choice to keep breathing. Juanis' artist statement read: "Depression at times is like being under water. We cannot breathe. It is our instinct to survive that reminds us to inhale the oxygen so that we can once again try to live our lives with dignity." She delivered the following speech on behalf of the artists from the Creative Works Studio: "Sometimes we feel sad, we feel tired of living, incomplete, useless. But when we come into this group we feel protected and free. We bring many ideas and problems to solve, but when we start to have discussions in the group our ideas become clear and we find new solutions for our problems. Also we find peace of mind. Maybe it's because we feel as an active part of the community, and sometimes our roots are stronger. When I started in this group I felt afraid and it was hard to speak. Now I feel at home. And I enjoy my new friends and the support found in this group." 22 Figure 1 "Oxygen Bubbles" Another member K.Y.C. said the following: "Being able to strive until the end and be able to meet deadlines are also crucial to me at a real paying job. From the Creative Works Studio I learn all of these and to unload the self-critic in me. Completing a painting is like completing a project on the job. Finally, seeing the paintings all framed and hung for the exhibit was euphoric. " THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 14, No.1 2000 lie:r taJrtiist ~me for hw ' work , '1Cml~iIJ," F:igm:;e3:, told 'Of 'tibe ~po 'of ho1t11ktg 'onto :ber herltalt ,and Wbm :it 'bad gi~el[ 't.o :btr, OOlbiJn:ruedm ~ lBtilIHiiIIW\!I Vl'ith mttlltal :s;ertW:as m1d ~hy :!i.baut : ~h my wotlk flo :peoplIe 'Wlw lImow me" TIl:~ ~'s show wu :iii to!IiU~y dlt1f\:!NlM rt;ituQltimil. I was IItIuclit : kfi ~ Q~ omf1ab~e about I exp:l;~run !the ,purpoSe! ~f tlile ilIIlOOLo and my exp~no 'o f WilUlJtiiiI. [~mesS m hIl:S iilgremr ''Wg :it :k1t I()'f :1.\11:1 ~nda 'MS h~y ro :!llme pUbil & ~ly M 1m ,one 'o f ~ arti:Slt me:tflb~s Wll:6 Coxy ~ ill )\OiUl!!ig WClWM in 1m :midil:mimtiil.i:&who :b~s wim~, ~1iY : , piO/iII!. ItirJaIilImIlltii.c : !I~s diwrd¢r and de:pMS~(m ' ~h !eftlwr Wl:ib~ to : ~!mIe :hw telCihngPo~1! a j ob :. , :had ~e 1000000d. :She haislb~ in\YlOved~1I 'fbe ~ for over two ')'Mf$j mdwu the !!!peake! .aJI: b.st ye:!l.es ex.Wibit, l~mth bee:nibaltt.1ing ·oflfl:iIe CfI!,mUvt WOiiks : ~;" l!(ll. .FebruallY Cory letft thB Cl#t~V!e She cO:wm.er~td 81m!:! silroog .~p:irt, '1 LI:a;~ )'cwr'$ show poople In:~Lti ~deolfi ' ~WlS a 'Very :ra.,. :af£ah-" W~S :a bytl:te ilille:s't .~mkex ~ liOIIl(l!n :md 'bOOlg M!l mUJ:!'I!IIfying. '[ w1Od~ ~a ftlll ti:m~ WQ$~O Worb :Studio hit ;abl~ I~ tliladmmg !position, remmbacklto Other members had experienced mixed emotions by the process leading up to the show. M.G., a single young woman commented, "I started coming to the Creative Works Studio my approximatelY one month after hospitalisation and four weeks before the November 16th art show. When I started, everybody was busy trying to complete and frame their canvases in time for the event. I painted three pairs of shoes on a canvas that was suspended -below the ceiling of the studio, observed the accomplishments of the other artists, and reflected on where I have come from. I had mix emotions on the opening day of the show. I felt excited and happy for the other artists and sadness that so many years of my life have been spent trying to survive instead of realizing my potential." E.M. a young man and graduate of the College of Art and Design had been unable to work at his art for several years after he was diagnosed with schizophrenia, said that he now feels 'less afraid to show my work.' The show had helped him face his fears and realize that he was able to feel fully present at the show and he found a new sense of motivation and self worth. For J.R. ab,i.gh1y skilled musician, the visual art world was a:t!~ entirely new medium for him to discover his untapped resources. He had to stop playing guitar for long time due to a severe case of tendinitis. Meanwhile he was in recovery from alcohol abuse, and had been caring for his mother who was terminally ill. The stress of her death, coupled with the task of figuring out where he was going to live was unsurmountable for J.R. He said the group was a "safe place." It gave him a great sense of security during a difficult time and helped him discover that "life wasn't over yet." He enjoyed the solitude -and playful release that he experienced from painting. However selling one of his pieces (Figure 4, "Parrot Roots")for the first time in his life was a major "thrill" beyond his belief. He said it gave him a sense of hope in himself that someone else coUld see the value in his work. He has since returned to playing his guitar and working as an assistant for his late mother's superintendent in exchange for rent. He says he still plans to continue painting since it helps him stay away 24 Figure 3 "Chinatown" from negative thinking and behaviour patterns like drinking. For Rick, a single man in his late thirties and active member of the Creative Works Studio who had minimum art experience prior to the studio, found the experience of the opening to be a very powerful event. "It was like getting a compliment from someone. It THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 14, No.1 2000 was like getting a pair of free tickets," he said with great enthusiasm. He wanted to be photographed standing proudly beside his work. (Figure 5). Tova added, "For me it was all worth it-even if only one person understood what I was saying in my art. And lots of people did appreciate it. That made me feel good." And fmally one member who has been very private about her work and thoughts had strongly affirmed that showing her work had made a difference. She stated, "Oh yes, it did make a difference that we showed, and shared our work with other people. It gave them a chance to see what is going on in their own community" Our theme, Roots to Community, Routes of Community, was a challenge with which we struggled and worked for a year. Through the process we became more deeply rooted and bonded in community. We learned to deal with the challenges of an art show and face them. This provided the positive experience that the CWS members needed in order to be able to carry forward the learning into other life opportunities. Such positive life experiences are vital when so many of the CWS members have had numerous external and internal traumas to deal with in their lives. What was apparent for all the members of the Creative Works Studio is that they had grown. Both the positive and difficult emotions evoked by the process leading up to the show and the opening exhibit instilled a new sense of pride and achievement. The artists "owned" their art, their new physical home, and became more aware and appreciative of their personal creativity. The combination of working in a studio with shared goals and community support together with inviting the public to celebrate these works created a broader community. This exhibit provided all of us 26 with an opportUnity to appreciate the beauty, creativity, potential and power of art to express and work through the challenges and stigma of mental illness. From my own standpoint I have no doubt in recognizing the kind of major shifts that takes place for the CWS members as a result of going public. For people that have been connected to the psychiatric medical system, it often legitimizes them as human beings once again as people who still have a rightful place, who can contribute, have something to say, and who belong to the greater community outside of the program. For some, this recognition alone gives them the strength to return back to work, solve major problems in their lives, feel safe and more assertive to deal with people and life situations outside of the studio. Our new millennium offers infinite routes for rapid communication, yet we still search for answers to the core questions of the human heart: Where am I? How did I get here? Where did I come from? Where am I going? By expressing the frenzy, the gridlock and the isolation of our times, the members of the Creative Works Studio have discovered that they are not alone. They have come from somewhere and have arrived at a junction that points the way to a longedfor destination: community, wholeness, rootedness, and relationship to the inner, the interpersonal, the "big world. Their artwork and exhibitions truly celebrate with colour and image the richness and . diversity of their various family and cultural identities. Through their artwork, they have discovered joy, surprise and challenge in their healing journey. Those who have sought a deeper understanding of themselves have seen their artwork unfold in unexpected directions, and they have been liberated by their ancestral roots. THE CANADIAN ART THERAPY ASSOCIATION .JOURNAL, Vol. 14, No.1 2000