Public Engagement
Hidden Lives : Hidden Gems
Hidden Lives:Hidden Gems is an interdisciplinary group of practitioners working at the intersection of health and art. Our intention was to initiate a conversation about evaluative practices within creative health, and in May 2022, we held a symposium aimed at transforming current research paradigms.
Held over two days, the symposium took place on the ground floor of the Old Diorama Arts Centre in Central London. Since the 1970s, this venue has provided a shared space for the live arts, creative industries, and the local community to create, explore, and connect. An international group of participants engaged in twelve workshops, including "Creative Paradigm" with Dr. Christina Lovey, "The Labyrinth" with Gilly Angell, "Storytelling" with Dr. Lorna Collins, "Feedback in the Form of Haiku" with Dr. Linda Miller, "Facilitation Exploration of Creativity through Collage" with Dr. Elizabeth Muncey, "Challenging the 'Don't Ask – Don't Tell' Culture about Art Therapists with Lived Experience of Mental Health" with Dr. Val Huet, "Pharmacy Health Services" with Dr. Ranjita Dhital and Professor Jacqueline Sin, "The Parataxis Form" with Dr. Christina Lovey, "Hidden Meanings: The Non-Visual Language of Touch" with Katy Dymoke, and "Expressive Language" with myself.
Each of the workshop leader's reflections can be found here but you can read my own reflection of my ‘Expressive Language’ screen printing workshop below: Each workshop leader's reflections can be found here, but you can read my own reflection on my "Expressive Language" screen printing workshop below.
Each stage of the screen printing process unveils a plethora of new creative possibilities. Even before any printing began, setting up a mini studio in the Old Diorama immediately contributed to an atmosphere of the unusual. Screen printing relies on stencils. "Stencil" comes from the medieval word "stanselen" – to decorate with bright colors – while in old French, "estencele" means to sparkle. Both definitions were fitting for printing the gem motifs. Screen printing is considered a repeatable process, making it ideal for producing editions. Repetition can be hugely therapeutic and offers a sensory way of experiencing imagery. Although the repeatable aspect was undoubtedly part of our process, the analog nature of our printing setup meant we were essentially mono-printing. Despite the apparent consistency of our movements and the stencils we used, each print was unique. For every person and attempt, there were infinite possible outcomes. There are no mistakes, and it is important to recognize that everyone's experiences and understandings of the process are different. If you're not familiar with screen printing, a screen is a frame, sometimes made of wood but often metal, traditionally covered with fine silk (now mostly synthetic). A stencil, made from hardened emulsion, is exposed and embedded into the mesh. On some parts of the screen, the mesh is blocked by the emulsion, while other parts remain open. The screen is placed onto a flat surface, on top of paper or fabric, and ink is squeezed through the mesh using a squeegee, revealing the design below. This process can be repeated many times, in different colors and with various treatments. Of course, the process can go wrong, and embracing the concept of failure – if there is such a thing – is truly valuable and part of the excitement of screen printing.
