The option of representing hated objects was avoided by the participants for some time. Only in the 4th workshop did they accept the challenge. For most it was a troubling moment, but their later reporting on this subject reflected the positive effect of catharsis. Interestingly, one participant devoted extra time to her drawing, having returned with it for all the following sessions to ask for suggestions on how to depict visually in her painting further aspects she described verbally.
In the visual art workshops participants drew objects. They could always choose between two suggested groups of objects, or opt to draw something else. As these loved objects were among belongings still kept with them, this assignment was completed from observation.
Introducing our first exhibitions at Royal Holloway – Bedford Square and Egham – Susana Ferraz’s posters fit beautifully the low-fi art direction and project’s aesthetics.
How do you portray someone who is hiding? And how do you represent an heterogenous set of individuals who are going through liminality after victimisation, without resorting to stereotypes? Different solutions were essayed. This animated painting, part of the initial art project, intended to reflect the fleeting moods of participants through time. After meeting these questions it switched to a composite portrait with bits and pieces of all the women in refuges I have worked with, including aspects of their own drawings of each other.