This research is a qualitative art-based study exploring trauma markers found in the artwork of serial killers through the participation of licensed art therapists trained in the identification and treatment of trauma. The literature review covers a broad range of variables that influence the development of mass murderers, and how art therapy may be useful in working with serial killer populations. The study offers a unique, non-verbal exploration of the trauma experienced by serial killers through the art therapy lens. The three participants provided invaluable data through their responses to a questionnaire and creation of response art that demonstrates evidence of complex trauma, military trauma and traumatic brain injury; all of which were supported by previous research found in the literature. Themes identified through the analysis of the data included: communication, representation, chaos and violence, life and death, and illusion of power. This study demonstrates the importance of understanding serial killers’ psychological makeup, the traumas and other experiences that have profound impacts on them, and the contexts in which they develop. This may lead to a better understanding in how to look for the warning signs in their development and artwork; allowing for the potential to prevent such violent behavior with early intervention.

This thesis explores the design of a space for opioid addicts in recovery that combines an art therapy studio with a gallery space. It would provide a new type of therapy available to the area, engage and educate the Richmond community and spread awareness of the disease of opiate addiction. It will also enable addicts to express themselves in a non-verbal, creative format that allows for them to create a legacy and leave an imprint on the community.

Arguably life threatening and chronic illness is not just an attack on the body, it is an attack on a person s sense of self-identity, shattering the means by which a person experiences the world, and by which they also are experienced, contributing to a person s sense of powerlessness and distress. People living with a life threatening or chronic illness, often describe the impact of their diagnosis, treatment and illness as having changed their sense of self-identity beyond all recognition. Seven participants, purposefully selected from those attending a weekly day-hospice session in Wiltshire, took part in the study. This qualitative, practice-based research project challenges the power dynamics in art therapy and attempts to equalise the relationship between researcher and participant through the development of a collaborative intersubjective relationship, within which the participants are recognised as experts on their lived experience, and in a series of negotiations , co-design their own portraits directing how they wish to be portrayed. Through this process the participants become patient/researchers (PRs) and the artist/therapist/researcher (ATR), by creating the portraits, also becomes a reflexive participant . This project utilises an in-depth multiple case-study design and multiple creative data generation methods as well as a phenomenological approach to data analysis. This project reverses the terms of engagement within art therapy and uses the art therapist s artistic practice or third hand to create portraits for patients. (This is based upon the assumption that most art therapy theories terms of engagement include patients producing art within the therapeutic encounter, however some psychodynamic and psychoanalytic art therapists may use client art generation selectively or not at all). This raises important questions around who makes the artwork in art therapy interventions . The use of portraiture as a third hand intervention enables the art therapist to develop a sense of positive focussed attention and mirroring and attunement through the art object, enabling the addition of coherence through aesthetic resonance and the holding of dualities through metaphor and symbolism. The results of this study demonstrate the power of portraiture as an intersubjective way of knowing, being and relating, enabling the revisioning of identities disrupted by illness, characterised by increases in participants creative capacity to adapt to illness and feelings of home-like-being-in-the-world, developing a stronger, more coherent lived experience of self-identity, effecting closure to difficult life experiences, and improving their overall quality of life.

Master of Science / Department of Landscape Architecture/Regional and Community Planning / Stephanie Rolley / Small group creative practice has the potential to set the conditions necessary to develop or strengthen community networks, as a form of social capital, in a disempowered, traumatized community. Traumatized communities require the process of building social capital to begin at an earlier point than in other communities and by addressing the background of trauma first. Case studies of three programs present the opportunity to inform the design of future development work with disempowered, traumatized communities like those of many women in countries engaged in armed conflict. The case studies examined are a government founded shelter for abused women; a localized project to teach agricultural skills; and a project to teach women artistic skills as a therapeutic exercise to build trust levels necessary to increase networks. Social capital provided perspective for examining the bonds between individuals and groups and how they affect individuals’ access to resources. Framed by a literature review, the case studies synthesized literature and first hand experiences and knowledge. A question protocol was used to query the case studies in order to identify best practices. The literature review demonstrated that the most reliable indicators of social capital are trust and association and suggests accepted indicators for each. By querying the case studies, it was determined that best practices for a project designed to build social capital in disempowered, traumatized communities include stipulations on the size of groups, how time is scheduled for informal interaction, identifying indicators of trust, and how conditions for group outcomes were met. This study found that, with an intentional design focus on group outcomes, as well as with attention to other best practices, creative practice is a viable method to increase the levels of trust necessary to set conditions for further development of social capital in the identified communities.

An expanse of research literature has confirmed that a significant percentage of women are concerned about their body size and appearance. Western cultures have emphasized that women must look good to be worthy. Media attention that alludes to the benefits of a thin, fit body exacerbates women's beliefs that they need to look a certain way to be acceptable and to fit in. How though, can the majority of women fit into a world of contrary ideals? Being strong and healthy does not absolutely mean a woman has to be model thin with conspicuous abdominal muscles and extreme body definition. In the field of art therapy, there has been no specific research to demonstrate the advantages of clay for the exploration of body-image, male or female. The research undertaken focuses on and evaluates the manner and methods in which clay can be employed as an enabling material for body-image issues with women within art therapy practice. With the help of small groups of female participants who were invited to attend sessions in my pottery to make their body-images from clay and join in discussion, I was able to explore within a safe and contained environment the ways in which clay can be utilised within an art therapy setting. None of the women who took part in the research had a diagnosis relating to body-image issues. By pursuing the methods of Participatory Action Research (PAR) for Study One I employed the fundamental features of Cycles of Reflection. The results of Study One assisted me in choosing Interpretative Phenomenological Analysis (IPA) to further the research. In this way, I would be able to identify the most robust of themes within the dialogues of the three women who attended the individual sessions that comprised Study Two. The final results of the research point to a positive and contained means of working with clients and patients in order to provide a significant resource to help women explore and be more accepting of their bodies.

The current study sought to determine the utilization and effectiveness of art therapy with adult survivors of childhood sexual abuse, as perceived by mental health professionals. A total of 33 participants consisting of marriage and family therapists, masters of social work level clinicians and one doctorate level were surveyed. A self-constructed survey, created by the researcher was distributed to the participants. Results demonstrate that about one third of participants perceived art therapy to be moderately effective in reducing male and female issues surrounding childhood sexual abuse. No significant results were found when comparing the effectiveness of art therapy on males versus females. The study also shows that art therapy is under-utilized. The current study is limited by a small sample size, as well as little experience with art therapy utilization. This study contributes to social work knowledge by providing an awareness of art therapy treatment utilization with adult survivors of childhood sexual abuse. Future research regarding art therapy should consider mental health practitioners’ lack of knowledge and possible under-utilization of art therapy in order to determine its true effectiveness

This thesis, which includes a dual case study, explores the clinical use of art therapy with women with eating issues from a feminist perspective. It provides a critique of the existing art therapy literature, and suggests alternative approaches which may be incorporated into an art therapy intervention, to increase its relevance to this client group. It demonstrates the need for flexibility and creativity on the part of the art therapist, particularly with regard to the provision of structure and containment. It offers an example of qualitative research methods which were easily incorporated into clinical practice, as a means to introducing clients’ voices into art therapy narratives as well as evaluating practice. These research methods are suggested for future art therapy research projects. This study found that a short term feminist informed art therapy intervention was able to meet its goals of increasing clients’ self awareness and insight into their eating issues. The use of art therapy was found to be one of the strategies which contributed to the success of this intervention. Other important aspects included: the adoption of a feminist model; the use of journalling; a flexible approach; a concern with what lay beneath the eating issue; and a focus on self-care and nurture. / Master of Arts (Hons) (Art Therapy)

This thesis is autobiographical in nature and follows my life experiences relating to the development and subsequent removal of a large epidermoid brain tumour. The resultant impairment of my faculties, and its effect on my vocational, emotional and spiritual life is outlined. My main means of expressing my journey from illness to partial recovery and self-renewal is through art-making. This art-making (a form of art self-therapy) is recorded in my paintings; included in my thesis as my main means of expression taking the place of the printed word, as my capacity to write and type is somewhat impaired. The main value of my thesis relates to recounting the experience, for others of the renewal of my life, following a major illness. Most brain tumours are fatal or severely limit the ability of a person to communicate, or limit their intellectual functioning. I was fortunate in that I could still communicate through using the visual arts; an area where I had retained my competencies. My thesis then, is aimed at increasing the understanding of illness, recovery and renewal for those in the helping and medical professions; also to give hope of life renewal through art expression and art therapy in cases where verbal and written means of communication are limited. The field of my thesis is adult education and personal learning through experience. This learning has focussed on using creative painting experiences as a way of self-healing. Those paintings that were significant in my recovery and renewal are exhibited in the Art Gallery section of this thesis. By viewing these artworks, you can share in, and understand my journey through illness, recovery and renewal through art-making, self-therapy.

This thesis enacts a response, rather than provides an answer, to questions of ‘what we are’ and ‘what we might become’, in the context of a poststructural enquiry into (my) practices of art psychotherapy and narrative therapy. My project is inspired by therapeutic meetings with many people over many years, and by the intellectual work of Michael Foucault, Judith Butler and other poststructural theorists, particularly those working at the intersections of poststructuralism with feminist and postcolonial theory. / Doctor of Philosophy (PhD)

Graduation date: 1954