A Riot of Art – Barrier Series # 7

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Riot Art © 2011 Bo Mackison

https://www.iql-nog.com/2025/01/19/lf61ho9mny7 Riot of Art © 2011 Bo Mackison

click “What art offers is a space — a certain breathing room for the spirit. ~ https://riverhillcurrent.com/bnchghbn John Updike

source site This post is the seventh in a series of my story, an intimate exploration of art and healing. See the introduction and complete series at  follow site My Healing Journey

enter Once I earned the privilege, I worked in the art room every day, often twice a day. The art I created was not beautiful, not worthy of hanging over anyone’s couch. It was dark, often difficult to look at, always meaningful. The art I created helped me deal with the emotions bubbling to my surface so that I did not have to  explain in words. Too raw for words, the art spoke for me – through my paintings, sculpture, and mixed media work.

see url “Where something becomes extremely difficult and unbearable,
there we also stand already quite near its transformation.” ~ go Rainer Maria Rilke

https://www.rmporrua.com/iqu4qh20uy I was immediately attracted to the woodworking room, a small room divided from the open studio area which was often crowded with other patients working on art or craft projects.

watch There was a center work table, tools hung from pegs and hooks on the wall, there were bins of building materials. I had no specific goal in mind when I began, but I felt driven to create. El, in her wisdom, always stayed near while I worked here. She’d pull a stool into the corner, and perch there with a pile of her never finished paperwork balanced on a lap board. She both ignored me and kept watch. She answered questions and found supplies I wanted, but otherwise I was on my own.

https://www.amyglaze.com/ji46j7y1c While many of the clients chose to work on projects they could gift to friends and relatives, diversional projects which fulfilled a need, I chose to let my spirit speak through my hands.

https://tudiabetesbajocontrol.com/relanzam/buy-actavis-diazepam-uk.php My first project was a sculpture of many layers, and its creation, done over a couple of weeks, was a turning point in my recovery.

I began with several pieces of wood, a saw, a hammer and nails. With great intensity, I cut wood into many lengths. The sawing stage was short-lived. I was anxious to get the hammer in my hands. When I began hammering nails into the pieces of wood, the creation took on a life of its own.

I hammered hundreds of nails into five or six pieces of wood. I made a base, then angled pieces of wood to form a teepee like construction. I pounded some of the nails so many times, only the nail head was visible surrounded by hundreds of hammer-head imprints. Nails protruded from the edges. Nails bent; they were pounded into the wood lengthwise. Nothing was wrong. There were no rules, except those for safety’s sake. Never one who liked to follow rules, I understood the sanctity of the safety rules. I wore safety goggles and aprons. I understood that the misuse of tools or equipment were grounds for dismissal from the workroom. I honored the space, the rules, the tools. I learned to manage my emotions within a set of boundaries.  And I kept creating.

“Let everything happen to you, beauty and terror.
Just keep going, no feeling is final.” ~ Tramadol Ultram Online Rainer Maria Rilke

After the hammering and nails stage, I moved into the plaster of Paris stage. The plaster was my sculpting material. I mixed bowls full of the thick white pasty stuff. Then I applied it to my wood structure. Layers and layers of white in globs and streaks. There was nothing delicate or considered in its application. Just the urge to hide the wood and the nails under a volcanic-shaped mass of white.

I added small human figures which I fashioned from bits of clay. I pushed the figures deep into the sculpture. I rolled clay into snakes with open mouths. I pushed them deep into the sculpture.  El continued to quietly observe from the sidelines. Occasionally another patient would use the tools for a leather project, but for the most part I worked alone and in silence.

The sculpture of wood and nails and plaster became the container for my anger, my pain, my wounded self. I asked El if there was paint. I wanted large quantities of black and red paint. El left the room, returned with two 16 ounce bottles of tempera paint – one primary red, one black.

Using a brush more suited for house painting, I slashed streaks of red and black over the white. I again worked in many layers. Paint over paint over paint. I worked in a quiet, self-directed, controlled frenzy. A controlled frenzy, you ask? That is what it was. I could not stop. I did not act out in rage or anger or despair, although those emotions were present within me. But I could not stop. I had to make this wood-nail-plaster-clay figure-paint structure.

For several days after I had finished the painting, I went in the woodworking room and sat with it. Examined it. El eventually handed me a notebook and a few markers – red and black – and asked if I wanted to write a few words. Thirty pages later, I stopped.

We are product of our past but we don’t have to be prisoners of it. ~ https://www.infotonicsmedia.com/about/online-valium-canada.php Rick Warren

“I’d like to destroy it, that pile of stuff,” I said to El.

“How would you do that?” she asked.

I knew that the act of destroying my art required a safety plan. There were limits and boundaries, there were rules for safety, and there were the other patients to consider.

“What if I did it when there aren’t people around? It might be frightening, the noise and all. I’d put a big piece of plastic on the table so there isn’t much mess. And wear the safety goggles and my apron.” I answered. “I want to take the hammer and smash it.”

El nodded her permission. “I’ll get what you need. You could do it Saturday afternoon, after the department closes for the weekend.”

And that is what we did. I spent several hours on a Saturday afternoon in a cold January destroying my sculpture symbolizing man’s inhumanity towards others. I hammered it into a pile of dust and mangled wood and bent nails. When I was finally weary of the hammering, I hung the tool on its hook and smiled. A very small smile. Then I sobbed and sobbed.

El sat me down, lightly put her arm around my shoulder and sat with me. We sat for a long time.

Finally I stopped crying, found tissues, and cleaned up a bit.

El looked out the window “It’s beginning to snow. Let’s get our coats and go for a walk.”

We walked around the hospital grounds. The new snow-covered the grayed snow in piles on the parking lot. The air was cold and fresh and very clean. I gulped huge breaths.

Art heals. Not overnight. Not in a week. But art, practiced over a lifetime, offers the spirit a path towards healing.

Next: Putting Out Fires

Unlock the Art – Barrier Series # 6

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Art Lives © 2012 Bo Mackison

 This post is the sixth in a series of my story, an intimate exploration of art and healing. See the introduction and complete series at  source link My Healing Journey

“Art teaches nothing, except the significance of life.” ~ https://www.prestoavenuedesigns.com/save/buy-daz-diazepam.php Henry Miller

After I’d stabilized and no longer needed the quiet and non-stimulation of the Quiet Room environment, my doctor transferred me to a regular room on a locked unit. This unit, designed for protection of the patients, did so with a minimalist approach. Anything deemed dangerous was contraband. A good rule of thumb – if an item could have posed a danger to a curious, unsupervised two-year old, it was off-limits.

A locked unit in a psychiatric unit, especially one on the sixth floor of a multi-story facility with no access to the outside was a stark existence. Boredom was rampant. Angry outbursts from patients, or the television set or perhaps angry patients fighting over the television set were standard fare. It was the way of the system.

The locked unit was a transition phase prior to transfer to the treatment unit which offered occupational therapy, art therapy, music therapy, and a variety of classes that helped patients transfer to out-patient programs.

Enter my guardian angel in the person of an Occupational Therapist, a woman named El. She looked beyond the angry, confused person that was me, and saw the glimmer of potential. El took me under her wing, and quickly assessed that the best to connect with me in my fragile state of anger and despondency was with massive doses of all kinds of art and writing.

She was right.

“Art is not a part of life, it is not an addition to life, it is the essence of those pieces of us that make us fulfilled. That give us hope. That give us dreams…” ~ https://www.frolic-through-life.com/2025/01/0tfa7ytp Hasan Davis

We began with the simplest of media – paper and glue. Until I earned off-unit privileges, I did projects in the patients’ lounge or in my room. El brought in a stack of magazines, a large piece of paper, and a glue stick. I began with collages – torn pictures and words were a great match for my state of mind. At first, the mere act of tearing the magazine pages into hundreds of strips provided an energy outlet. Gradually I worked to combine pictures and words which provided an outlet for my emotions.

El explained what I needed to do so that I could accompany her to the off unit therapy room – a room offering art of all sorts. I was eager to expand my art opportunities and my privileges to be off unit.

It would prove to be a pivotal experience, one that opened my eyes to the miracle of creating and set me on the road of healing.

– these experiences are based on journal entries, 1990-91

Next: A Riot of Art

Rapunzel, Rapunzel — Barrier Series # 5

Rapunzel, Rapunzel © 2012 Bo Mackison

“Above all be the heroine in your life, not the victim.” ~ Order Tramadol Online Cash On Delivery Nora Ephron

This post is the fifth in the series of my story, an intimate exploration of art and healing. See the introduction and complete series at  see My Healing Journey

I was in my mid-thirties, a wife and mother of three children under the age of nine, when I had what I refer to as a spirit breakdown. Most people, including medical professionals, call this a mental breakdown. But truly, it was not my mind that could no longer carry my burden. There was a disconnect from my spirit, from my center, from my wholeness.

For years I had successfully woven together a life that looked much like any other woman’s in my neighborhood. I was married. I worked part-time in the physical therapy department at a local nursing home. I led Girl Scout troops, worked in the concession stands at Little league games, organized a co-op playgroup for my two-year old and her friends. I was active in church and school functions.

And then one day in an early October, I received a jury duty summons in the mail. Two weeks later, I was in a courtroom, one of thirteen jurors chosen to hear an assault case. The case was a first degree sexual assault case; the victim was a woman my age, married with three children, active in her church and neighborhood.

The woman testified repeatedly how she was unable to recall many details of her assault, how instead she’d had an out-of-body experience. She had floated above her body as the two assailants raped her and had observed the attack in a haze. In her dissociative state, she felt no pain, no fear. Even when she returned to her body, after the assailants had run away, she questioned what had actually happened. It was several hours before she went to a hospital, was counseled by a law enforcement/rape crisis team, and the necessary examinations were completed and documented.

This testimony caused quite a stir during jury deliberations. People were skeptical, doubtful. Many of the jurors, including most of the men, did not believe her. They accused her of telling lies to cover her own part in what they thought was a possible illicit affair. However the women on the jury found her testimony very believable. One woman juror, a recently retired nurse, stated dissociation was a well documented medical phenomenon.

I took part in the jury deliberations, but some of the time, as I listened, I felt an overwhelming sense of fear and anger. I felt threatened. I requested a break as I was feeling ill, but convinced myself  I’d contacted a flu bug in the close quarters of the courtroom.

After several days of deliberations, the jury found the men guilty.

“Only one thing is more frightening than speaking your truth, and that is not speaking it.” ~ https://www.boasdeibiza.com/boat/valium-online-uk-next-day-delivery.php Naomi Wolf

During the following six weeks, I could not stop replaying the woman’s story. Visions of her rape and dissociative testimony haunted me. I began to feel less connected to my life. Time became distorted. I struggled with my regular activities and my children’s schedules. I began having flashbacks from my childhood.

I felt the need to get away from my family. I felt unworthy to be a part of their lives.

I wanted to hide. I imagined myself in a place far away where no one would know me or expect anything of me. I dreamed of hiding in a tall tower, alone with my shame. I wished for a life like the fairy tale character, Rapunzel. I could live alone. I’d have no contact with anyone and no one would have contact with me.

During this time, I had glimpses of my truths; I refused to believe them. I wanted my life to return to normal, yet I vaguely understood I could never be the woman I’d been only a few months before.

Unsure and frightened, I was in limbo.

      – compiled from journal entries and letters, 1990-91

Next: Unlock the Art

Four Walls and a Bright Light – Barrier Series # 4

Bathed in Bright Lights

Bright Lights © 2012 Bo Mackison

“Fear is a natural reaction to moving closer to the truth.” ~ http://foodsafetytrainingcertification.com/food-safety-news/crkjsvzk7ni Pema Chödrön

This post is the fourth in a series of my story, an intimate exploration of art and healing. See the introduction and complete series at  https://bettierose.co.uk/361pit1x38h My Healing Journey.

I spent several months in the hospital. But after my initial admission, my condition went from extremely ill to critical, doctors transferred me to the equivalent of the critical care unit of a medical unit. But unlike a medical ICU with its high-tech equipment and constant activity, a person who needs a psychiatric ICU needs a different sort of healing space. She needs as little stimulus as possible. It is a time to quiet a system gone haywire from too much input.

By law, a patient must be placed in the least restrictive environment to treat their symptoms – I signed an admission form with a list of my rights – but my condition required drastic measures.

My world for several weeks was in a “Quiet Room” — a 8 x 8 foot cell-like room. The walls were softly padded, the floor was indestructible tile, the only window was covered with steel mesh and fully curtained in black. When covered with an over-sized piece of plexiglass, the space bore little resemblance to a window.

There was a mattress on the floor, a single sheet, a plastic pillow, and a camera high on the wall so I could be constantly monitored on a closed circuit system by a nurse who sat in the nursing station.

There was a door, but no door knob. Staff came in to deliver my meals, monitor my meds, and help me with basic needs. Otherwise, I was left alone — to rest. I craved someone to talk to me, or even to sit in the silent room with me, but rules required the nursing staff to monitor me by watching a television monitor, not to interact with me.

Also disturbing to me was the inset light in the small room’s ceiling. It was an obvious necessity. I understand that now — twenty years later. If I slept in a darkened room, no amount of surveillance on camera would inform them of my activity. If I paced in a darkened room, they could not see me pacing. Or crying. Or rocking myself, trying to calm myself, comfort myself. But I hated the constant light. Bright, with a yellow cast, I felt as if the fiery light was burrowing through my eyes into my brain.

My dreams, which I recorded in my journal while an occupational therapist supervised my safe use of writing materials, were constant chase scenes in confusing mazes, up and down stairwells, through basements and attics, jumps from roof tops only to end up zigzagging through six lanes of night-time traffic. I never knew who was chasing me. They hid from my view. The dreams were on repeat, and so I lived them and re-lived them.

I couldn’t tell night from day with the window covered. I didn’t understand what had happened to me, why I was here, nor how long I would need such extreme care. And I was angry and disoriented and terrified.

I describe this time in my life because this was me hitting the bottom. I could no longer function in the state I was in. I couldn’t go back to the life I’d enjoyed only a few weeks earlier. My only choice was to acknowledge my fears, as stated in the quote by Pema Chödrön, and move closer to my truths.

— based on journal entries, 1990-91

Next: Rapunzel, Rapunzel

No Escape – Barrier Series # 3

This post is the third in my photo/story series on my journey of healing and recovery. See the introduction and complete series at  Ordering Tramadol Online Illegal My Healing Journey.

Barrio Brewery

No Escape © 2012 Bo Mackison

“We can spend our whole lives escaping from the monsters of our minds.” ~ follow url Pema Chödrön

The time comes when I need a safe environment. I need protection from myself. High away – no escape, no contact. High away. Plastic windows and bars to protect those inside from themselves, and to protect those on the outside, too.

Administrators make attempts to brighten our environment – primary colored lounge furniture, pictures on the walls – but none of that offers protection from the hurried words, the rigid restrictions, the mind-numbing drugs, the incessant blare of televisions and radios.

Or the voices that only I hear.

~ based on journal entries, 1990

————

The photographs that make up the Barrier Series are a set of photos that symbolically follow the story of my mental and spirit breakdown and healing process. The photos are not related to any specific places where I might have had treatment. The series metaphorically correspond to the phases I moved through during recovery, as I focused first on staying alive; second on regaining basic functions, and finally on regaining my wholeness.

This photograph represents a difficult time in that process. Unrelated events led to an awakening, necessary but brutally painful, that led me to assess the reality of my past. It was devastating. I was suicidal and extremely ill; I required in-patient psychiatric care. And although it was a difficult time for me, it was excruciatingly painful for my family, including my husband and small children.

The place I stayed is a place no one would want to stay for any length of time. And yet, I was fortunate to be in a hospital that provided me with my greatest likelihood for survival. At the time, I was not appreciative of the efforts and time my caregivers expended on my behalf. But as I look back on those years, decades ago, I am overcome with deep gratitude for these people. They worked with dedication to keep me safe and protect me until I was ready to take over that work myself. It wasn’t an easy job for any of us.

Next: Four Walls and a Bright Light