24th ANNUAL CONFERENCE "ARTS THERAPIES TODAY: ARTS THERAPIES IN EDUCATION, MEDICINE,
SOCIAL SPHERE" (MAY 7-8, 2021)
"ART AS AN ANSWER" GALLERY
During 2020, we all faced the challenge of a pandemic, serious changes in the usual way of life, tense social situations and other difficulties. Each of us tried to cope with them in his own way, but turning to art and creativity are the ways of personal adaptation that are characteristic of our arts therapeutic community. We help ourselves and others cope with life's trials and ailments by tapping into the healing potential of art.

This virtual exhibition presents the creations of art therapists from different countries, made during 2020 - 2021, reflecting their characteristic ways and forms of creative personal adaptation in the current situation. Thanks to the organization of such an exhibition, we can support and enrich each other, assert a creative attitude towards life, the poietic stance in the world, as one of the fundamental principles.
Artists
  • Oleg Bogachev
    Head. Department of Medical and Social Rehabilitation of the Health Committee of the Leningrad Region, Center for the Prevention and Control of AIDS and Infectious Diseases". Member of the Council, Honorary Member of the Art Therapy Association.
All these pictures were painted at my workplace, where I came before everyone else to stay in peace and quiet, collect my thoughts and tune in to the day ahead. From the beginning of the pandemic to the present day, our Center has been working and providing medical and psycho-social assistance to people living with HIV and hepatitis. But at the beginning of the quarantine, all employees over 60 went on paid leave, and the rest began to work in shifts, and I worked 4 times a week as the Head of the department, replacing three employees.

Gradually fatigue, uncertainty began to appear ... The cancellation of a trip to Scotland to the Isle of Islay was a strong blow for me. To get myself together and better understand my feelings, I began to turn to painting with gouache.

The water pulled out of me the unformed corpuscles of feelings, thoughts, and with the help of paints I rendered certain images. On the basis of the created paintings, I then wrote poems that clarified the meanings of the painted. Thus, I was able to understand my feelings and thoughts, stand on the edge of the funnel and contemplate.
He lay once
Dozed at dawn.
And somehow he dreamed -
Uncle Peteya,
What he turned out to be
Riding a comet
Flying-hovering
Over the cities
Gardens, fields,
Seas, snows ...
He didn't understand everything
On the fly,
But every minute
Through flight
Delight words
Burst out of the company
And crumbled
Into forests and swamps
They burst out of them
Free chicks
Rang-tweeted
Like bells
And the world was filling up
Wide sound
And life was saturated
With a deep meaning ...
He flew like that
In a dream on a comet-
Mysterious in the morning
Uncle Petya.
(St.-Petersburg, June 17th, 2020)

"Fires and birds in Uncle Petya's dream when he flew on
soaring comet (Paper, gouache)
Longing for Tuscany

Like a fish in a glass
Because I'm there
I have never been.
I did not wander the meadows.
Didn't wander around the fields
And I did not run with my feet
By the Tyrrhenian sea.
There must be air
Fueled by olives, cypresses and roses ...
…There are cold St.-Petersburg outside my window,
Snow and rain
And light frost.
... But over pink
Sun of Tuscany
Shadows of great men roam
Buonarroti and Dante
The glasses were closed.
Leonardo
Laughs at Sandro
And Galileo sneezes into the light.
I'll look at Botticelli's "Spring",
Refresh, get inspired, take off the cold ground
And will pour down like a rain
In Tuscany.
(St.-Petersburg, February 10, 2020)

"Longing for Tuscany" (Paper, gouache)
Once upon a time there lived Picts…
Did they really exist?
If so, where are you now, Picts?
Have you turned into the rocks or maybe hiding in the clouds?
Picts, be loud, please come out!
Are you whispering to us being carried by the creeks?
Are you sharing your dreams through the sound of the leaves?
Scottish whisky, taste of heaven, sipping slowly and imagine
Streets of London, feel of freedom
Picts, come out! Are you real?
Weird feeling, Picts are here
Living, eating, drinking beer…

(St.-Petersburg, January, 2020)


"Once upon a time there lived Picts..." (paper, gouache)
  • Alexander Kopytin
    Prof., Department of Psychology, St.Petersburg Academy of Post-Graduate Pedagogical Training, Chair, Russian Art Therapy Association, Founding Editor of the web-based journal, "Ecopoiesis: Eco-Human Theory and Practice" (www.en.ecopoiesis.ru)
  • Alexandra Dvornikova
    graduated from The Saint Petersburg Stieglitz State Academy of Art and Design in 2015. Having completed a Postgraduate Diploma Course in Art Therapy at St.-Petersburg Academy of Post-Graduate Pedagogical Training in 2017 she was involved in environmental art therapy practice and continued her artistic career exploring human-nature relationships. She is Art Director, "Ecopoiesis, Eco-Human Theory and Practice," the international open-access web-based journal.
We joined forces in 2020, creating a series "The Green Book of Heroes". Alexandra made illustrations by intuitively expressing what is associated with the archetypes; Alexander wrote texts trying to convey the meanings hidden in symbolic images. The process of working on the cycle is associated with the model of the Pythia and the Priest, where there is intuitive symbol formation and rational comprehension; where two are in dialogue with a constant exchange of images and meanings. Our tandem is the co-creation of an artist and a scientist, a woman and a man (anima and animus), youth and maturity, which allows us to expand the scope of individual perceptions and explore reality more widely.

"The Green Book of Heroes" is based on the use of archetypal images and plots. It has something in common with the Major Arcana of the Tarot, I Ching and other universal symbolic systems describing the human life cycle in its relationship to the world around. The is our attempt of "greening" anthropology, to assert the common foundation of human beings and the world of nature. Through pictures and texts, we would like to share the meanings that we have been looking for and found over the past year. We did this in an effort to combine artistic and scientific methods of cognition.

Working on "The Green Book of Heroes,", we proceeded from the ontological perspective of considering nature and the human being, and, at the same time, we recognized the special qualities of homo sapiens, which are not reducible to our natural foundations. This position is characteristic of the concept of ecopoiesis, the co-creation of humans and nature, presented in the web-based journal "Ecopoiesis: Eco-Human Theory and Practice" (www.en.ecopoiesis.ru)

The series conveys the archetypal matrix of reality, in which, according to Maria von Franz, archetypes are organized in a certain way, giving rise to universal prototypical sequences and general patterns of development of all situations. As day follows night, so life events obey certain natural rhythms and always have mythological prototypes.

The cycle also conveys the idea of the Hero's Journey, carried out by a person in one's unity with the living environment, in the general dynamics of development together with it, and, at the same time, sometimes challenging it and confronting with nature, in order to introduce something new and unique into the world, because each Hero is an existence that engenders itself. In this Journey, interacting with nature and culture, the Hero not only reveals the essential characteristics of the living environment, but also transforms it and creates oneself. The actions of the Hero, the human life cycle, are similar to how different living organisms, ecosystem, and the cosmos behave, but, at the same time, the Hero affirms his/her human qualities, and combines the uniqueness of his/her personal trajectory of development with the universality of the forms of natural and cultural life.

Each work of the series has a title that denotes a certain archetypal manifestation in a person and his/her living environment, acting as a generative, synergistic factor, 'a psychoid' (according to Jung) implied both in the mental and physical world, the world of living organisms, in the ecosphere ...

While working on the project, we found that each archetypal situation represented by cards reveals some specific quality. For example, "Death" refers us to completion and rebirth, "Magician" is associated with transformation, healing and service, and all archetypal situations establish certain sequence, or rhizome (according to the philosophy of poststructuralism by J. Deleuze and F. Guattari), the web of life, possessing the Living Heart. However, without the Hero, crowned with a wreath of thorns, his/her choice, free will and deed, its many gifts remain potential. With him/her, they come true.

The Power card depicts a young woman in a long, loose dress and her red hair that falls down to the ground. Perhaps she is presenting a flower to a fire-breathing dragon. However, it is not completely clear who is giving the flower to whom. It seems that they are holding it together and at the same time presenting it to each other.

This archetypal image expresses the confrontation and complementarity of instincts and consciousness, physical and spiritual, animal and human, represented in the dual essence of human beings, their ability to transform a "stone heart" into a "flesh heart" ("I will give you a new heart and put a new spirit in you; I will remove from you your heart of stone and give you a heart of flesh." Ezekiel 36:26). At the same time, the natural, instinctive, animal principle is not denied or suppressed by reason, but is accepted and transformed, creating a beautiful and viable unity together with it.

The flower embodies the aesthetic principle, the principle of beauty (esthesis) in its unity with poiesis - the creative power of nature and humans in their reciprocal relations. Natural beauty as a manifestation of natural life "nourishes" beauty as the core quality of cultural experience, and, vice versa, cultural experience, reveals aesthesis of nature.

This card is a reminder of the salutary gift to turn a natural given into "expressive and speaking being" (in the words of M.M. Bakhtin), to comprehend the beautiful and expressive essence hidden in the depths of a human being and nature with its ability to empathize and understand.

The image also reminds of the ability to comprehend the "sacred" beauty of the body, affects, drives and impulses, human and natural "wildness" and passion, to perceive oneself as a part of not only the human, but also more-than-human world, the world of nature, its powerful energy and will to live, as well as enrich them with the love and mercy.

The image invites us to meet the power of passions and instinctive forces, to enter the "flesh and blood" of this world and unite the animal kingdom and the kingdom of the spirit, to accept the beauty of natural manifestations. Comprehending and supporting them in ourselves and around us, we can make our tender and sensitive soul in its connection to the "soul of the world," "because in this world soul the human soul has always had its home" (according to James Hillman), in order to walk along the path of beauty and creation together.

The "Tower" card shows the central image of a tree originating from the abyss with tongues of flame escaping from it. In its crown, myriads of celestial bodies and luminaries are visible. All this indicates that the tree is not ordinary three, but some mythical and universal symbol. Through it and around it, forces are acting on a truly cosmic scale.

A ladder is attached to the tree - a symbol of ascent and descent, the possibility of movement, development and cognition along with the natural dynamics of the universe. However, since this staircase is human-made and the way up might be difficult, it contains the potential to fall and collapse.

"Tower" denotes, on the one hand, the fragility of human existence, and, on the other hand, the unity of humans and the world nature and cosmos, experiencing the cycles of death and rebirth, and walking along the path of development and evolution. The card conveys the idea of the collapse and destruction occurring in a person's life as a result of the invasion of energies of a higher order, which he/she is unable to cope with, often perceived by him/her as "punishment" or injustice.

The "lesson" of this card is to accept the action of force majeure circumstances, to understand them as a manifestation of natural laws. The human mind, however, even in these conditions, will strive to understand the nature of catastrophic phenomena and try to develop certain ways of predicting or coping with them. And it can be quite real.

The colossal forces crushing the Tower are not only the forces of destruction, but the forces of creation. They can not only take away, but also give something. These forces are a natural part of the universe and the social world, to which a person can be attached.

This image is a reminder that, falling down, experiencing the crushing of the fruits of our labor by forces beyond our control, we can maintain a clear consciousness. We can try to comprehend the nature and laws of action of these forces, learn to predict their manifestations in order to preserve ourselves, our loved ones and our wealth. At the same time, it invites us to accept the limits of our capabilities, the finiteness of our ourselves and our world.

The card invites us: Open your eyes and awaken your heart to see your earthly journey as part of the Tree of Life. Paving your route in the realms of nature and culture, up and down, connect with the earthly foundation and the height of the cosmos through reason, faith, love and creative inspiration. Take the initiative, work and act as you explore the world and build new, sustainable ways to interact with it. Together with the powerful forces of the universe, give birth to earthly and heavenly fruits. But also give yourself some rest by lighting evening candles.


  • Shaun McNiff
    Lesley University (Cambridge, Massachusetts, United States), author of books and essays that have been widely influential and translated into many languages. He leads art studios, lectures, and teaches throughout the world and is currently working to further East-West cooperation as Co-Editor in Chief of CAET (https://caet.inspirees.com/). McNiff is the recipient of numerous honors and awards, including the Lifetime Achievement Award of the Journal of Applied Arts and Health for his leadership in advancing art as research and the Honorary Life Member Award of the American Art Therapy Association. He established the first integrated arts in therapy and education graduate training programs at Lesley University from which the field of expressive arts therapy emerged and in 2002 Lesley appointed him as its first University Professor.
In this time of digital reliance during the COVID pandemic, I present selected paintings that exist in the virtual realm. Twenty-five years ago, I began to experiment with painting in Adobe Photoshop. The work has influenced my more general painting with physical media, but it has been not printed for exhibition. It has only been viewed on a screen. The recent concept of the NFT (non-fungible token) as a unique digital entity supports new ways of thinking about virtual art. Here I show two types of paintings--- fast and spontaneous creations together with more deliberate pictures, with the latter also made quickly in Photoshop. They are created with a 'mouse' which requires new painting movements and touch. All the images respond to the immediate environment through imagination.

I have written about the many advantages that digital painting offers in saving work and returning to earlier iterations, making multiple versions of the same composition, easy access to vivid and clean color options, bold gestures, and so forth. The media features have many practical possibilities for art therapy --- beyond the scope of this brief statement.

Necessity during the pandemic has driven surprising change within art therapy which had been reluctant to consider digital media. When I introduced video to my professional community in a 1975 article, there was resistance. As I said then, art therapy must open itself to the whole spectrum of current artistic possibilities and media to more completely meet the needs and interests of the people we serve. Digital media have proven to be part of the larger eco-system of artistic expression. Each medium, from the artifacts of the natural world to digital technology, has its place and makes it contributions to the whole.
  • Natalia Nazarova
    Cand. Psychol. Sciences; Member of the Council, Full and Honorary member of the National Association for the Development of Art Therapeutic Science and Practice "Art Therapy Association"
The coronavirus pandemic and the ensuing isolation, and quarantine have brought about major changes in my life. Everything has changed. There is nothing left from life in a huge city with crowds of people, from daily trips in crowded transport, from daily work with a large number of patients, communication with colleagues and friends, visiting museums, exhibitions, theaters and concerts. We live together with my husband outside the city, in the forest, among old tall firs. For the whole day we meet at best one person and a dog. I quit my job. I only communicate with clients, former colleagues and friends by phone or Skype. I visit exhibitions, museums and performances only virtually. There is only a car from the transport ...

But life in nature made it possible to concentrate more on what there was not enough time and energy for in the hustle and bustle of everyday life. My inner artist, my creative, childishly curious part of me, is helping me a lot now. I manage to notice changes in nature, see the shades of sunrises and sunsets. I am learning to recognize birds and distinguish animal tracks. I rejoice at the vitality of the worm crawling through the snow. I am amazed at the resilience of the newt in the water to drill a well. I watch the flowers bloom, and then wither, as the harvest ripens. I listen to the music of the rain, the drum roll of the hail and greet the first snow. I admire how different snow is, I notice the variety of its shades ...

And I can paint pictures after a long forced break, when there was not enough time and inspiration for them. And I photograph, photograph, photograph ... Creativity helps me to cope with uncertainty, to concentrate on details, and at the same time, to make all-encompassing plans. And then all negative thoughts, fears and uncertainty about tomorrow recede. The creative flow captures me and deepens me in the present, filling this present with great meaning.

"Reflections on Coronavirus"

This series of photographs was born out of my reflections on the nature of the coronavirus. What is the coronavirus like, how can you imagine it? Considering different natural phenomena, I tried to imagine what it might look like ... Like air bubbles on the surface of the water or strange little mushrooms? On icy patterns that covered a puddle, or on dewdrops on the blades of grass? Bright orange mushrooms that look more like flowers? When you compare something unknown, frightening in its globality and unpredictability, with something specific, with what you really see and can touch, it becomes less scary, and sometimes it can even turn into a funny game. Unpredictability recedes, we can continue to live on.
"Instead of travel"

I really love to travel to different countries! New places, new impressions, smells, tastes, sounds of unfamiliar speech, meeting new people ... Such trips fill me with energy, give me new strength, putting aside my daily routine for a while. But the pandemic has closed the borders. I really missed the opportunity to go somewhere. Then I began to revise my photographs and paintings already painted after previous travels, as well as still unfinished paintings and remember the ideas of still non-existent paintings. I was able to complete what I started and create new artworks. As if I went to these places!
  • Svetlana Pastukhova
    ceramic artist, teacher of ceramics and fine arts, a leader of educational and art therapy programs at the Center for Continuing Education for Students with Special Educational Needs "Trajectory", and a senior lecturer, The Pedagogical University named after P.P. Semenov-Tyan-Shanskiy." She has a higher art and pedagogical education, underwent professional training in art therapy.
Beads

Clay, glazes, textiles; modeling, painting, lowering. 2020-2021.

Making beads and collecting decorations from them have always been important and relevant for me, and manifested itself during the pandemic. A separate story is color in ceramics. I experimented with glazes. I paid a lot of attention to the search for color in small forms, including jewelry of the "health vessel" type (a small container with a hole for containing aromatic oil in it). The presented products are directly related to the online trainings conducted during the pandemic, during which, among other things, these forms were born. Finding a color is a very interesting and intuitive process. For me, the beads were a kind of sampler for new glazes. Many of them have been fired several times and have a very complex color, shades and nuances of amazing beauty.

There is a lot of therapeutic potential in the process of making ceramic beads, from sculpting beads (including the "download-rolling" technology, which was shared in trainings and master classes), decoration (color search) and ending with installation and fitting. Loose beads are a delight to the eyes and a call to tactility. From ready-made beads, it is very therapeutic to "compose beads" according to certain mood. I must also mention about the training of the sense of color, a kind of training of coloristic, compositional thinking. And, of course, a very important stage for me is taking photographs of the products. They live a new life, being captured on camera and presented as an image, where the subject and the background are in dialectical unity.

Traditional forms of pottery

Clay, glaze; pottery molding, modeling, watering. 2020.

In a period of instability, I wanted to turn to established forms. Each of the forms of traditional tableware has a distinct functional identity. The jug has a handle and a spout. Storage vessel (some jugs, egg capsule) is a rounded body with narrow neck. The pot is ideal for heating over an open fire. It is convenient to store food in the makitra. The krynka is a vessel for storing milk, and its shape (rounded body, elongated throat, slightly bent rim) fully meets this function. The milk settles, the cream collects in the neck area. The neck of the jar is so wide that a person's hand can easily penetrate into it (to wash the vessel from the inside), and so narrow that it can be grasped and held with one hand. The censer is a vessel for fire. A bowl contains and displays the contents. All utensils are easy to use and at the same time have a clear silhouette and harmonious proportions. The form is such that it encourages you to pull yourself together and enjoy the harmony of the decorative and the applied. This has always attracted me to traditional art. Even if you do not use this thing, it will stand and "organize space" around itself, setting the tone for the entire interior.

I did these items when I was in the «Eaglet» camp It was important and interesting for me to include the environment as a witness and a kind of facilitator of the process of creation and interaction of me and other people with the products of my creativity.
  • Veronika Turgel
    Candidate of Pedagogical Sciences, Associate Professor, Institute of Special Pedagogy and Psychology (R. Wallenberg) and State University named after Pushkin, psychologist in private practice (St. Petersburg)
I cannot say that the pandemic and the period of self-isolation have significantly disrupted my life. I worked a lot, mostly as usual, spent time with my family, was engaged in creativity, and discovered yoga.
At this time, I was next to my loved ones, we went to nature, I allowed myself to walk around the city, read, more often I cooked something delicious for my relatives. I painted pictures, weaved mandalas and dream catchers.

It is the dream catchers that I would like to present at the exhibition.

The "classic" dreamcatcher (shown in the photo self-portrait) with willow-colored feathers symbolizes the middle of summer, feminine strength and the healing supportive power of nature. Trips to nature at this time made my life joyful and fulfilling.
A dreamcatcher in greenish-cold tones (Fig. 2) with natural gems, jasper and agates, with an agate heart hanging in the center and seashells reflects love for St. Petersburg, my hometown, where I was born and raised. This city was so remarkably deserted, clean and beautiful during the period of isolation, when there were no crowds of people, excess of transport and bustle.
Reading pleasant and helpful books such as Clarice Pinkcola Estes' "Runner with the Wolves" is a good quarantine activity. Inspired by the legends of wolves as the totemic inner animal of the primordial woman, she weaved an achromatic dream catcher (Fig. 3), combining shades of white, gray and black.
And finally, cozy tea drinking on cool days with fragrant reddish-golden tea was associated with the warmth of red and ginger carnelian woven into a product of warm colors with wooden beads and cowrie shells (Fig. 4).
  • Ilya Kovalenko
    analytic psychologist, art therapist, head and founder of the International School of Art Therapy, full member of the Russian Art Therapy Association
Still life with a teapot, apples and a pot holder

During the quarantine, my family, like many others, was locked up within the walls of the apartment. At the same time, adults continued their work, consultations, and children continued to attend school. Everything turned into unfamiliar online activities, while access to the street was limited. There was a lot of tension. And everyone was sorely lacking personal space, personal time.

On a day off, I decided to paint. I remembered that I hadn't drawn for so long, and now was the right time. Many ordinary activities were inaccessible or restricted, guests and walks were prohibited. I put a simple still life in the kitchen of a teapot, apples and pot holders that I could get my hands on.

When I started painting, my wife became interested in it and joined me. She also hasn't drawn for a long time and loves it. Then the younger children joined in. They were attracted by this unusual action that took place in our small kitchen. In the end, even a skeptic, a teenage daughter who does not like to draw, went out to see who was drawing what, who was doing what. As a result, we arranged a mini-exhibition with a viewing.

This was the very time when everyone could be with oneself, drawing a simple still life with a teapot, apples and a pot holder. Everyone was able to slow down, sit, watch. Objects were placed on small cardboard boxes or sheets of paper and found their place. Then they interacted with shapes and colors, played with color reflexes, supported by the background. Something didn't work, something worked.

We drew ordinary sketches, by no means masterpieces, but each had its own view, its own perspective, its own individuality. Younger Marusya, in particular, looking at the still life, painted our yard with grass, playground and sculpture. It seems that after this spontaneous drawing in the kitchen, we more felt each of their places and each other.

  • Pamela Whitaker
    a lecturer in art psychotherapy at the Belfast School of Art, Ulster University (Northern Ireland) She practices under the name of Groundswell, www.groundswell.ie and is a practitioner of land art, festivity, and community gatherings in civic gardens. As an art therapy educator, she is a pedagogical curator assembling a contemporary art curriculum in association with artists, activists and social innovators. She is a member of Editorial Board of the web-based bilingual (Russian and English) journal, "Ecopoiesis: Eco-Human Theory and Practice" https://ecopoiesis.ru/
Observances

The artwork is called Observances and the two bouquets of dead flowers were found along a roadway as a tribute to health professionals and as a memorial to those who have died as a result of COVID. Floral bouquets preserved as observances in passing. Along my route they were in memoriam, as a display within trees.A message was attached, and although faded it evoked a tribute. A gathering of consolation within flower collections. There was ceremony and intention.The significance of viewing a testimonial and a remembering. A celebration of life and a commemorative offering.Witnessing a sanctum both personal and readily available.

  • Dr Christopher McHugh
    a Lecturer in Ceramics and Global Engagement Lead at Belfast School of Art, Ulster University, UK. His practice-led ceramics research explores the relationship between artistic and archaeological methodologies, often focusing on particular archives, museum collections and communities. As part of this, he is interested in how an engagement with material and making can enhance wellbeing and encourage social inclusion. In 2016, he was Arts and Humanities Research Council Cultural Engagement Fellow at the University of Sunderland, UK, where he developed a ceramics and wellbeing project with military veterans.
Title: Corresponding with Jeju Scoria, Vessels 1-5 (2020)

Materials: Jeju scoria

Dimensions: c.10 x 10cm

This is an experimental body of research artefacts made as part of my contribution to The Clay Reader – Scoria, Scoria, Jeju Scoria, a modified artist in residence programme focusing on the creative potential of volcanic scoria soil from Jeju Island, South Korea. These vessels were formed and fired in molochite and plaster moulds using a process reminiscent of the pâte de verre technique of kiln forming glass frit. The interiors of the moulds were texturised or incised with simple imagery. The title responds to the project having been modified from a residency on Jeju Island to a postal project due to the coronavirus pandemic. It is also a reference to anthropologist Tim Ingold's (2013) concept of 'correspondence', where the act of making is dependent upon a mutually constructive relationship between the material and the sensory awareness of the maker. My own correspondence with Jeju scoria, involved a series of experiments through which I gradually gained an understanding of how I could work with it. Although this was an almost alchemical process which involved attempting to tame this relatively non-compliant material, it was also essential to embrace the particular material properties of the scoria. The resulting pieces have a primitive, archaeological appearance, where the natural qualities of this volcanic material merge with cultural references.

Ingold, T. 2013. Making: Anthropology, Archaeology, Art and Architecture, London; New York: Routledge.
https://pure.ulster.ac.uk/en/persons/christopher-mc-hugh

Further information

About the project:
https://pure.ulster.ac.uk/en/activities/the-clay-reader-scoria-scoria-jeju-scoria-artist-in-residence

Paper:
https://pure.ulster.ac.uk/ws/portalfiles/portal/89629604/_Christopher_McHugh.pdf

Images of the work:
https://pure.ulster.ac.uk/en/publications/corresponding-with-jeju-scoria-artwork

Film:
https://www.youtube.com/watch?v=lgC9HRoRsis
  • Beverley A'Court
    BSc.Soc.Sci. (Joint hons. Phil. & Psych.), BAAT registered art therapist. As a long-term member of the Findhorn Foundation Community, she has contributed to many programs, and developed many applications of environmental/eco art therapy. She is an advocate for the recognition of poetic language, the body, ecology and cultural traditions in art therapy Resides in the North of Scotland (UK).