Healing through Expression: Artist Amplifying community voices

By Adil Iqbal - 18.08.2023

Adil Iqbal, Remembering Together's storytelling associate met with arts practitioner Abbey Craig and visual artist Lilly Garnet from Angus. They captured visceral experiences, particularly from those deeply affected by the pandemic. The 'Angus Remembers' project evolved through co-creation, leading to artworks symbolizing community strength, memory, and hope.

My second conversation was with the director of RIG arts Karen Orr and artist Carolan McPherson from Inverclyde. Emphasising the journey over the end product, they address grief and resilience amidst the pandemic. Their adaptive approach, encompassing diverse age groups and themes, underlines the healing power of art and community collaboration.

Bridging Communities through Art: Angus Remembers

Abbey Craig - end of Phase 1 event

Abbey and Lilly recognized a need for greater communication between the local delivery partner and the residents of Angus, an area of rich cultural diversity. Rather than basing themselves in one location they embedded within the local community, emphasizing deep-rooted engagement. 

Using Facebook as a launchpad, the pair effectively communicated their mission. Every town and village in Angus has a Facebook page, and these became instrumental in broadcasting project details. Branded 'Angus Remembers' t-shirts further solidified their presence. 

Abbey and Lilly began by listening. They conducted numerous one-on-one interviews, especially addressing sensitive subjects like trauma and bereavement. This wasn’t about leading conversations but about creating environments where stories flowed organically. Through open days in Arbroath, they introduced voice recordings, Q&A sessions, and wall spaces where locals could share memories on their terms.

In parallel, Lilly led art classes, weaving in themes of community, friendship, and nature. These sessions weren't uniform; they were tailored for a diverse audience, including adults with additional support needs. Nature photos became conversation starters, evoking stories from the pandemic and beyond.

Every level of engagement, from private conversations to street encounters, was enriched by the visceral experiences of the participants. The artists didn’t work in isolation; they established networks, built on trust. An individual’s story would lead to another, weaving a web of interconnected tales. And it wasn’t just about collecting tales; it was about responsiveness and healing. They identified groups severely affected by the pandemic, such as adults with learning difficulties. Through the celebration and joy, they unlocked paths to healing.

A poignant example of their work was the inclusion of photographs taken by someone who tragically succumbed to cancer during the pandemic, gifted to the project by his father. The images found their way into the community art pieces, culminating in a specially made jigsaw presented to the donor as a token of gratitude.

Co-creation was the project’s linchpin. Art groups were formed based on specific needs. Over 8-10 weeks, workshops emerged as platforms for storytelling, connection, and individual exploration. The balance between process and product was negotiated constantly. Generous financial resources in phase 1, used to provide simple comforts like tea and cake, ensured participants felt nurtured.

Accessibility was paramount and very effort was made to understand mobility needs. Older participants, drama groups, and others felt reassured by the project's commitment to inclusivity.

Notable artworks arose from this endeavour. Abbey’s group used song and music as catharsis, singing favourites of a departed member, creating a space of shared memory. For Lilly, a crafted jigsaw representing Steven's photographs became a symbol of community healing.

Phase 2 of 'Angus Remembers' seeks to amplify the community's voice further. The 'Angus Remembering' website, set for a phase 2 launch, promises to be an embodiment of community art, led by community voices.

Both artists learned immensely. Abbey's journey taught her about accessibility and the importance of instinctual leadership. For Lilly, the process was a lesson in adaptability, discerning the unique needs of different groups.

Inverclyde: A tapestry of Community art and healing

In a rich dialogue with Karen Orr, director of RIG Arts, and local artist Carolan McPherson, a tapestry of creative community engagement in Inverclyde unfolds.

RIG Arts has a cherished legacy of intertwining with various segments of the community. It stands out in Inverclyde as a beacon of trust and openness, facilitating heart-to-heart exchanges. The intent? Not just to curate an art piece but to immerse in the holistic 'creative process'.

Central to their approach is co-creation. This isn't about the end product; it's the journey, an evolution of ideas and feelings, particularly from those grappling with the ramifications of long Covid. The community's pulse takes precedence, and the project's orientation changes in tandem with its rhythm.

Working with diverse age groups, from school children to older people, the techniques varied. Carolan drew on her skills in art for mental wellbeing, skilfully incorporating the long Covid group into their sessions. The result was a cascade of art forms: drawings from children, expressive hula hoop weaves from long Covid sufferers, each texture and colour narrating its unique expression.

Yet, this isn't just about producing art. The ethos is about communication and understanding. A striking instance was when Karen spoke of a COVID survivor, whose recollections pivoted around a photograph of a cairn, an emblem of her resilience amidst the adversities of the pandemic.

In manoeuvring through heavy themes of grief and loss, the collective utilized a 'ping pong' strategy. While one artist initiated an activity, the other gently eased individuals into conversations, fostering comfort. The involvement of Seamus Killick, an art therapist, and Samantha Macgregor, both a visual artist and psychotherapist, was pivotal. They were the sentinels, discerning non-verbal cues and ensuring a compassionate environment.

The project was not without its challenges. Accessibility to certain areas, like care homes and refugee communities, remained elusive. Nevertheless, these will be represented in the project's subsequent phase.

From a branding perspective, the distinct touch of Carolan, with her background in graphic design, was palpable. T-shirts bearing a logo of vibrant colours, depicting characters in an embrace, became more than just apparel. They were identifiers, a nod to the nurturing spirit of the initiative.

The tangible outcomes of this project, particularly in educating the community about memorials, were manifold. The strong themes discerned from community consultations echoed the sentiments of unity, self-reflection, and the solace of nature. Yet, Karen Orr's emphasis on the project's flexibility and freedom resonated most profoundly. With partnerships as their bedrock, the open-ended nature of their initiative allowed them to adapt seamlessly to the Inverclyde community's needs.

Their legacy, however, is twofold. While they’ve listened and catered to community desires, the future looks even more promising. Phase 2 envisions community-owned spaces as catalysts for further dialogue. With an ambition to intersperse festivals and events in the memorials, RIG Arts aspires to grow and extend its web of connections.

In summary, 'Angus Remembers' isn't merely a project; it's a testament to the power of community art, woven from genuine experiences, and rooted in the heart of Angus. With RIG Arts, Karen and the three artists are a testament to the transformative power of art and collaboration, illuminating paths of healing, reflection, and community solidarity.