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Cover art from the nine editions of ANZJAT. Statements that accompanied the works in the editions of ANZJAT.

Michael Leunig, A picture of innocence, 2006

This work was courtesy of the artist. It appeared in the Age newspaper in Melbourne on Australia Day, 26 January 2006.

Nanette Lela’ulu, Condemned, 2006, Acrylic on canvas
This is the first of a group of paintings based on the religious iconography of the stations of the cross. I wanted them to read like a journey of one’s life and I was interested to portray a youth born into a family of crime and criminal-mindedness. This painting represents the first station (Jesus condemned to death); the judgement on this youth has already been formed through the actions of his family. I aimed to convey a feeling of shame and pending darkness in this painting, yet I wanted to also suggest the slight possibility that there is an alternative: a way out. In this group of paintings it is nature and the strength of landscape that offers a sense of relief. The youth is clutching his chest for what he knows is his destiny, but in his other hand he holds a candle without a flame, with the knowledge that it may be lit, when he is ready to bear the light.

Mariana Torkington, Rebirth, 2007
I first produced the image of the flower and the egg in response to the question ‘what art therapy means to me’ and I titled it “Rebirth”... a subject for the 20th anniversary of ANZATA. Initially I drew the above image in my own journal. Then, when I offered it to ANZATA, it occurred to me that photo realism was the most appropriate medium to bring the image to life. Photoshop enabled me to achieve the dramatic effect I was looking for.

Chen Ying Ying, Earthquake of Soul, 2008
This painting was my response to the tremendous earthquake in Sichuan province, China in 2008. When this tragedy first hit China, for few days I was not able to express my grief for the thousands of lives lost in that country. The moment I sat down and started this painting, I was able to connect my soul to the devastating destruction of  my homeland and evaporation of human lives in the ongoing tragedy. Human lives have never seemed so vibrant and powerful to me before. They are like flowers that once flourished, then withered and finally evaporated into air while leaving the living mourning for them.  

Jan Newell, Resurrection quilt, 2000-2009
I needed to create something that depicted a profusion of new life and fruitfulness, both wild and domesticated, as a way of sustaining my fragile hope for better times to come. The mixture of English and Australian motifs speaks of my family history. The reverse side in blacks and greys suggests that death that precedes rebirth. 

Simone Clare, Movement, 2010
I am thrilled to be able to share with the ANZATA community one of the images I created during my Masters of Arts in Arts Therapy at Whitecliffe College of Arts and Design. It was created in order to ‘speak’ to my peers through visual means. As I watched their expressive dance and movements I was in awe of them and so wished to join in and experience that sense of freedom and flow. Although they gently supported and accepted me as a witness to their movement I just could not join in. For me it was like being held by some invisible force freezing and twisting my spine impeding all sense of flow. Creating the image has allowed me to explain without words and more importantly to acknowledge in myself that my dance does in fact happen, it is in the movement within the painting itself. I am reminded that this awareness in part is what we as arts therapists promote for our clients. 

Marilyn Davis-Moore, The Emerging Donkey and the Reality Principle, 2011, Felted wool, stitch and photo transfer
My art evolves from the unconscious that I frequently give reverence to. I am particularly interested in the juxtaposition of imagery where new meanings are formed by placement alone. The images that appear may have little meaning or perplexity at the time of making but in time their true intent is revealed to the maker or the viewer. In reflection and after making this piece, I tried to connect the image to my current situation. According to Sigmund Freud, as one matures, one learns the need to endure pain and defer gratification. The ego no longer allows itself to be governed by the ‘pleasure principle’ and begins to take into account – ‘reality’. I came to discover that perhaps this work symbolises spiritual growth from ‘family of origin onlooker’ to ‘baby donkey’. My textile pieces are made from hand dyed and felted wool, photo transfer and stitch.

Nona Cameron, Matchbox moments: 11 days of a year in reflection, 2012-13, Cardboard matchboxes and glued collage elements
Throughout 2012 I made a daily reflection in a matchbox. The qualities, textures and values that remained with me from interactions were captured as little storied boxes, dated, titled and pocketed. This reflective practice gave shape to significant moments from my lived experience in my arts therapy practice in hospital, teaching and supervision, and in my everyday life. 

Julia Pasifull Oh, Red Moon, 2013, Arches 300gsm rough paper, poster paint, 2mm edding calligraphy pen
Red Moon is a non-verbal record of my learning experience at the 2013 ANZATA Conference. It is inspired by Maureen Hudson Nampajimpa’s words:

“The older women are wearing red ochre for ceremony, are teaching the younger women about the laws of living for women. The lessons are passed on in song, ceremony and storytelling.” 

The image reflects my reaction to the shared art experientials and presentations by therapists with diverse and deep knowledge while smoke from bush fires turned the moon red. The black lines represent not only the smoke but also the inspiration flowing through the conference. 

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