Mirrors: Prison Portraits An introduction CONTENTS 3 Identity at Stake Introductory essay by Robin Baillie 9 HMP Shotts 13 HMP Greenock 17 HM YOI Polmont 21 HMP Barlinnie 25 HMP Open Estate 29 Mirrors Documentary Film 30 Comments Book 32 Participants Credits Inside Back Cover Mirrors DVD This project is part of Inspiring Change – a structured Education Outreach programme of high-quality arts interventions in Scottish prisons led by Motherwell College, including the Scottish Ensemble, Scottish Opera, the Scottish Chamber Orchestra, the National Youth Choir of Scotland, the Traverse Theatre and the Citizens Theatre, together with the National Galleries of Scotland. An Inspire Project supported by the National Lottery through Creative Scotland and partner organisations, this unique and innovative project pilots new ways of supporting the learning and rehabilitation of offenders. Inspiring Change was designed to prove the beneficial impact of arts projects on offenders. An evaluation of the project was undertaken by researchers at the Universities of Edinburgh, Glasgow and Strathclyde. The National Galleries of Scotland is committed to increasing access to its collections, creating a ‘Gallery without walls’ that enables the educational potential of those collections to be developed and proves their effectiveness in relation to the discussion of key social issues. The Inspiring Change project provided an ideal platform to achieve these objectives. Mirrors: Prison Portraits, the exhibition of art produced during this project, was held from 4 November 2010-27 March 2011 in the National Gallery of Scotland, Edinburgh. 3 Identity at Stake ‘Sometimes I just want to start again. I want to be a blank canvas.’ Participant, HMP Shotts. Quoted from Mirrors documentary film. ‘Reciprocally, we imagine ourselves as the objects of the point of view of others: society is the “mirror” in which we regulate our “countenance and behaviour”.’ Left (Fig.1): Douglas Gordon, Monster Reborn, 2002. Photograph, 93.3 x 127 cm, Scottish National Gallery of Modern Art © Courtesy of the artist. 4 IDENTITY AT STAKE Ian Duncan, Scott’s Shadow: The Novel in Romantic Edinburgh (2007) “Who am I?” This simple question is central to the self-portrait. The ability to answer this question also begins to unlock the door to participation in society. Having a sense of a self that can be described, that can be affected by, and that can affect others, is crucial to acting socially. For the majority of those in Scotland’s prisons the means to develop that sense of selfempowerment and control over one’s life have been severely limited.2 The National Galleries of Scotland’s Mirrors: Prison Portraits project sought to offer offenders the creative means to fashion a self-representation that would increase their feeling of self-worth. Fashioning yourself for others’ view is a crucial component of modern life. It imaginatively integrates the individual into the community. What selves are acceptable? Which desires must remain unsatisfied and which actions avoided? The creation of one self-portrait within a pilot arts project may appear to be a limited endeavour, but the singular experience of learning to form an object of value – a work of art – to be shared with others, using oneself as subjectmatter, to be shared with others, may be profound. This seems especially so for those who have damaged themselves, and who may have damaged others, and are seeking a positive renewal of their lives. 5 The history of portraiture has witnessed both the birth of the idea of a unified, unique personality that can be captured as an image, and the disintegration of that idea of an undivided self. The national art collection holds portraits by artists from Allan Ramsay to Douglas Gordon that reveal this steady rise of the ‘self’ and its subsequent fragmentation and dispersal in contemporary society. projects. Unfortunately, those from disadvantaged social groups who have frequently suffered from inequality, poverty, poor educational attainment and the ravages of unemployment, drugs and crime, are more likely to feel themselves the victims of circumstances, rather than their master. Working in five Scottish prisons in 2010, the National Galleries of Scotland’s outreach officers and commissioned artists aimed to use the national collection of portraits as inspiration to aid the process of the rehabilitation of offenders. We invited those whose identities had been shaped by the designation ‘criminal’, to begin to rebuild their sense of self. 3 Participants were encouraged to take up the challenge of creating a portrait that reflected themselves and their lives, and their ability to project a positive future. Above: (Fig.3) Sir Henry Raeburn, Robert Macqueen, Lord Braxfield, 1722-1799. Lord Justice-Clerk, c1798, Scottish National Portrait Gallery Left (Fig.2): Ken Currie, Three Oncologists (Professor R.J. Steele, Professor Sir Alfred Cuschieri and Professor Sir David P. Lane of the Department of Surgery and Molecular Oncology, Ninewells Hospital, Dundee, 2002, Scottish National Portrait Gallery © Courtesy of the artist. For the short-term women offenders in HMP Greenock, gender issues weighed heavily in their identification with the photographic portraits of contemporary American artist Cindy Sherman, and her compatriot Francesca Woodman (whose photographs are part of the ARTIST ROOMS collection, joint-owned and managed by the National Galleries of Scotland and Tate). Sherman’s attempts to reveal the constriction of female gender roles pushed towards the grotesque by the mass-media, were understood by women often at the mercy of undue male influence over their lives. The positive release they experienced from taking control of the construction of their own images is evident in their imaginative self-portraits, and in the feedback they have communicated to the Inspiring Change evaluation team. Below: Drawing by participant, HM YOI Polmont, 2010 © NGS, Fraser Gray and Motherwell College, 2010 To define the quality that was necessary to bind the individualised subjects of modernity into a functioning civil society, the Scottish enlightenment moral philosopher and economist Adam Smith developed the concept of sympathy. Sir Henry’s Raeburn’s late 18th and early 19th-century portrait paintings in the national art collection display the emergence of a reflective moral physiognomy at work in his depictions of the faces of his sitters. (Figure 3). The self-command and self-possession beaming from the heroes of Edinburgh’s ‘Golden Age’ attest to the role of the portrait in proving social standing and social value. As participants in the five prisons came up against the weight of their task to redefine themselves through the process of portraiture, those qualities of self-command and sympathy were tested over and over again by those who often spoke of ‘never having thought about themselves’. The offenders’ revealed feelings about themselves which were of self-awareness or often centred on this lack, an empty space, in glaring opposition to the seemingly composed individuals of the historical portraits staring back at them at from National Galleries of Scotland catalogues. Modern society thrives on the development of individuals as self-conscious, instrumental 6 IDENTITY AT STAKE In HMP Shotts long-term prisoners probed and discussed a selection of portraits – identifying, for example, deep loss and sadness in the eyes of the fading, and alcoholic, ‘Young Pretender’, Prince Charles Edward Stuart, whose royal status is irretrievably lost (Figure 4). This interpretative analysis allowed the participants to get behind the official masks in these images and to take an emotional approach. This emotional approach was especially appropriate for a contemporary portrait such as Ken Currie’s, Three Oncologists (Figure 2). Here the fearsome spectre of cancer haunts the very bodies of its subjects who, although they are cancer specialists, seem to embody the fears of those facing the disease. Analysing Currie’s painting as an example of a social statement delivered through a portrait, was a powerful experience for project participants. It demonstrated to them that a major social problem could be confronted through the depiction of the individuals committed to addressing it. It was an inspiration that the men in HMP Shotts took to heart. Above: John Kay, Lawyer and Client, 1790, National Galleries of Scotland Above (Fig.4): Hugh Douglas Hamilton, Prince Charles Edward Stewart, 1720-1788. Eldest son of Prince James Francis Edward Stewart, c1785, Scottish National Portrait Gallery Young men in HM Young Offenders’ Institution at Polmont confronted issues of type-casting on the one hand, and their limited means of selfdefinition on the other. Douglas Gordon’s double self-portrait, Monster Reborn (Figure 1), highlights the thin line that exists between being regarded as monstrous (merely by distorting his facial features with the application of Sellotape) and thus excluded from society, and being accepted as normal. The young men often shied away from depicting their own faces and opted to hide behind the logos and labels of consumer goods as a means of identifying themselves. Artist Fraser Gray and National Galleries of Scotland outreach officer Richie Cumming encouraged those taking part to project a cut-out self-portrait avatar into a real-life location where it was then photographed. This re-positioning demanded an awareness on the part of the young men about how they would be seen by others, when released back into society. In HMP Barlinnie artist Kevin Reid moved further from the individualised model of the traditional portrait, and asked the participants to create scenes and stories for a graphic novel. Caustic prints by the Dadaist George Grosz (from the collection of the Scottish National Gallery of Modern Art), set the tone for a set of drawings and storyboards that speak about the reality of the environments from which these short-term prisoners come. The blight of social deprivation and the ongoing cycles of violent attack and retaliation are the background to the men’s ironic yet clearsighted understanding of their crimes and their position in society. They 7 are on record as praising the freedom and responsibility they were given by the artist to speak from where they were actually placed, rather than from a notionally reformed position. As a result, their work hints at the bleak landscape to which they will return on leaving prison. Their book is a collaborative portrait, animated by a reflective awareness of the paths that their own lives have taken in relation to a societal structure that has done them few favours. As such, it asks its reader to share in the need to create a collective solution to the cycle of inherited deprivation to which those in HMP Barlinnie will return. Above: Photograph of participant, HMP Greenock, 2010 © NGS, Craig Maclean and Motherwell College 2011 Facing page left: Francesca Woodman, Untitled, ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 © Courtesy of George and Betty Woodman 8 IDENTITY AT STAKE 1. Ian Duncan, Scott’s Shadow: The Novel in Romantic Edinburgh 2007, p.265 Princeton University Press. 2. Unpublished paper by Mike Nellis, Emeritus professor, University of Strathclyde, reveals that 70% of those in Scotland’s jails come from the five most deprived Council Wards in the country. Jan 2010. 3. Inspiring Change evaluation (2011) undertaken into the effect of the overall Inspiring Change project by academics from the universities of Edinburgh, Glasgow and Strathclyde, reveals ‘spoiled identities’ as something participants wanted to overcome through the project. If this cycle is to be broken then offenders need to be supported in their role as members of their families, establishing stable homes and law-abiding lives. At HMP Open Estate those nearing the end of their sentences were asked to produce photographs of ‘Home’ whilst on leave. These images reflect the everyday circumstances of normal life, poignantly displaying the men’s precious feeling for others and their own hopes for fulfilment. Criminology’s theory of ‘desistance’ – whereby the offender eventually is tied more strongly to children, family and stability, and offending begins to cease – begins to take on an achievable form in these photographs. Pertinently, re-employment rates for those leaving prison are small and continued support from the authorities is slim. As the participant released back into society at the end of the Mirrors documentary film points out, ‘You know… they talk about community, but I don’t see much evidence of community out here.’ This statement is a challenge to us all in the field of community-based arts and as fellow citizens. The precious subjectivity that empowers individuals to form a definable and productive identity is one of the defining qualities of our society. This sense of reflection and agency has been achieved to some extent by the men and women taking part in the Mirrors project. Moreover, participants have stressed the change that has taken place whereby they have openly discussed personal issues and supported each other as members of a group sharing in the process of creativity and rehabilitation. This is very unusual in the prison situation where privacy is guarded closely. Creating portraits, and proudly exhibiting them, has proved to be an extremely powerful mechanism for those seeking to begin to change their lives. The works of art in this exhibition demand attention and engagement on that basis alone. Further to this achievement though, is the effect the Mirrors exhibition and film has had on the public. Visitors to the exhibition have been overwhelmingly positive towards both the aims of the project and the quality of the work on offer. our evaluation also attests to the willingness of members of the public to encounter the lives and thoughts of those who have ended up in prison, and to join with them in the task of projecting the possibility of a collective solution to the many lives that are wasted in our society. In the final moments of the film a participant holds up his finally completed portrait and proudly states, ‘There is a face there now. At the start I never thought I would ever be able to put a face on it.’ Robin Baillie, Senior Outreach Officer, National Galleries of Scotland 9 HMP Shotts Doppelganger ‘I forced myself to look at the part of me that committed a crime. This wasn’t easy as I generally don’t think of myself as a ‘bad guy’– it was like looking at my evil twin. The choice of the ‘Transformers’ t-shirt acknowledges the fact I’ve done wrong and have changed.’ Participant, HMP Shotts ‘For the first time I have been able to look at myself and realise how I have led my life.’ Participant, HMP Shotts The figurative portraits made by long-term prisoners in HMP Shotts were deeply felt and and skilfully produced. Created as a result of the process of self-examination intended in the project’s aim, they reveal the inner lives of their artists. Right: Richard Dadd, Sir Alexander Morrison, 16791866, Alienist, 1852, Scottish National Portrait Gallery. Purchased with assistance from the National Heritage Memorial Fund 1984 Facing page left: Participant, HMP Shotts, Doppelganger, 2010 © NGS and Motherwell College, 2011 Working with National Galleries of Scotland (NGS) senior outreach officer Robin Baillie, the participants were moved by discovering the motivations behind portraits in the national art collection. Learning more about the lives of seemingly inscrutable national icons, such as the Earl Haig, J.M. Barrie and Prince Charles Edward Stuart, enabled them to see behind the official masks presented in those portraits. Armed with this critical insight into the staged nature of portraits, the men were encouraged to reflect on their own self-images and take on the challenging task of representing themselves. The participants responded strongly to the presence of filmmaker Lou MacLoughlan who held up another ‘mirror’ to their lives, encouraging them to describe the inner journey they took whilst creating a self-portrait. Due to the intimate collaborative presence of Lou and her camera, the men thought deeply about who they are and what they might become. 10 HMP SHOTTS 11 Facing page left and this page; Paintings by HMP Shotts participants, 2010 © NGS and Motherwell College 2011 ‘Taking part in the project has been a really positive experience for me. Self-portraiture was a very clever choice as it posed issues both technically – representing ourselves – but also having to look at ourselves objectively and deal with issues from our pasts. I feel immensely proud knowing our work will be on display in such a prestigious setting – proving positive things can come out of prisons.’ Participant, HMP Shotts Still Life ‘The coke bottle stands for a bad period in my life and the boxing gloves for a missed opportunity when I was young.’ 12 HMP SHOTTS Participant, HMP Shotts 13 HMP Greenock ‘I am going to college when I get out, to do more photography, and I think it will make me go on with my life and not be doing no more crime.’ Participant, HMP Greenock Female offenders in HMP Greenock, led by photographer Craig MacLean and supported by NGS outreach officer Richie Cumming and make-up artist Heather Chan, produced revealing digitally screened portraits inspired by the work of Cindy Sherman and Francesca Woodman. The women were encouraged to discuss a range of portraits from the national art collection. Particular attention was given to the work of Sherman, but the life and work of Francesca Woodman – emotional yet blurred images of herself nude – were also inspirational for many of the participants. Right: Cindy Sherman Untitled, 2002, Colour photograph, 54 x 36 inches, 137.2 x 91.4 cm. Courtesy of the Artist and Metro Pictures Facing page left: Participant, HMP Greenock, Angel, 2010 © NGS, Craig Maclean and Motherwell College 2011 Working together in small groups, the women helped each other develop fictional characters to embody an element of their own personality or situation in life, including their hopes or regrets. The first sessions were spent taking exploratory photographs, thinking about costumes, make-up and composition, before two days of photoshoots in the prison’s vocational workshop – transformed into a professional photography studio. Craig MacLean explains: ‘Our job was simply to provide a stimulus and help the women develop their ideas, along with the technical know-how to achieve them. We looked 14 HMP GREENOCK 15 at work in the NGS collection made by women artists. We focused on Cindy Sherman’s distinctive self-portraits – in which she dresses herself as a female stereotype and shows how others, particularly men, see women. Some participants directly reflect their thoughts about their present lives, others reflect on their past experiences and others deal with inner character – importantly, all the images are individual.’ These compelling images, and feedback from the women who participated, illustrate the powerful effect of the project and the sense of control it gave them over their lives. ‘So now I hopefully have a future career – all because this course helped me make up my mind and look towards the future.’ Participant, HMP Greenock Facing page left: Photographs by HMP Greenock participants (left to right): Freedom, Untitled, Fashionista, Medusa Hepburn, Untitled, Untitled, Untitled, Joker, Lady Gaga, 2010 © NGS, Craig Maclean and Motherwell College 2011 This page right: Participant, HMP Greenock, animation still, Freedom © NGS, Craig Maclean and Motherwell College 2011 Freedom ‘…because that’s what you crave in that environment. That’s what you can’t really express in this world. Mainly because we’re not all “free” to do as we please – that is in a good and a bad way, because at the end of the day we are all in chains – restricted to be ourselves.’ Participant, HMP Greenock 17 HM Young Offenders Institute Polmont ‘I think people will know the story from ma portrait. The project wiz top notch!’ Participant, HM YOI Polmont Young offenders in HM YOI Polmont worked with artist Fraser Gray and NGS outreach officer Richie Cumming, to draw life-size graphic characters based on their own image and experiences. These images were traced from projected photographs taken on the project. In order to develop a real-life context for these ‘avatar portraits’, the participants discussed how real individuals have been represented by artists. They analysed a range of work by artists in the national art collection: Douglas Gordon, Jeff Koons, Ken Currie, Helen Chadwick and Henry Raeburn, alongside the work of Armsrock, Banksy and Lucy Orta. Facing page left; Participant, HM YOI Polmont, Close, 2010 © NGS, Fraser Gray and Motherwell College 2011 The young men were encouraged to discuss and develop their characters’ history, personality and options. To encourage them to consider their life outside and to contemplate their future in society, the finished figures were taken outside the confines of the prison by the artist and outreach officer, and photographed in generic locations suggested by their makers. Artist Fraser Gray described the challenge as follows: ‘We wanted the participants to face their replicas on a 1:1 scale. This prompted in-depth discussions regarding their behaviour and the impact they had on other people, whilst considering who would view their work and how they would be perceived. ‘Here stands a wee ned, Aggressive ASBO advert, Nae good in your eyes.’ Several lads found it difficult, or were unwilling, to recreate their facial likeness and instead shielded themselves with the brand names and logos of consumer items that they strongly identified with. Others seriously engaged with the opportunity to examine who they were and why they were in custody.’ Haiku by participant from HM YOI Polmont 18 HM YOI POLMONT 19 All Drawn In ‘People will know the story of ma portrait by the colour difference between the two. The grey one is me inside jail, all drawn in and looking sad. The brighter one of me looking happier and with a bit of meat aboot me…it’s me oot of the jail!’ Participant, HM YOI Polmont 20 HMP SHOTTS Facing page left: Participant HM YOI Polmont, All Drawn In, 2010 © NGS, Fraser Gray and Motherwell College 2011 Above: Photographs of situated artworks by HM YOI Polmont participants, all images: Untitled, 2010 © NGS, Fraser Gray and Motherwell College 2011 HMP Barlinnie ‘We’re really enjoying the drawing. We’re getting to do ‘real art’. I can imagine trying to make a living doing this.’ Participant, HMP Barlinnie Offenders with short-term sentences in HMP Barlinnie created and published a gritty, fast-moving graphic novel. In the exhibition three bold silk-screened print versions of images drawn from the book were displayed alongside pages from the novel. Artist Kevin Reid inspired the men to draw short episodes dealing with crime, violence, life-chances and potential pathways away from offending. The sharp and caustic honesty of their drawings and poems reflects the reality of life in communities blighted by these problems. They have made mistakes, and the consequences of those mistakes are endured, but as artists they challenge us to offer up our solutions to a collective problem. Facing page left: Kevin Reid, Introductory page from Don’t Judge a Book by its Cover, 2010 © NGS, Kevin Reid and Motherwell College 2011 22 HMP BARLINNIE Above: George Grosz, Die Besitzkröten [Toads of Property], 1920, Scottish National Gallery of Modern Art © DACS 2010 (Grosz) Given the freedom and creative space to look at themselves, and the circumstances which led to them being incarcerated, the participants produced a witty and clear-eyed book which addresses us all. 23 Kevin explained what lay behind the process: ‘When I was a youth I escaped into comic books – Eagle and 2000AD being my favourite ink-stained fodder. Bold typeface and simple imagery is the backbone of television, fashion, newspapers and all media. We wanted to show how an inmate’s life, ideas, problems, memories and escapist visions could be channelled through a pen and into some kind of narrative within ‘cells’ or boxes – mirroring everyday prison life and the strain of ‘time’. After looking at prints by George Grosz, William Strang and Surrealist imagery from the national art collection that matched this graphic style, the inmates sketched the everyday, the absurd, the mundane and the fantastical into a collection of sorts. This page and right: Drawings by HMP Barlinnie participants, Images taken from Don’t Judge a Book by its Cover, 2010 © NGS, Kevin Reid and Motherwell College 2011 My main aim was to allow the inmates complete control of the publication – its layout, content and style – with me working as an editor. We had many discussions about what could be shown or told. There was a growing realisation in the men about the perceptions society – ‘those who might read the book’ – may have of them. The book is a fathomable object that can be easily shown, shared and given to family, friends and strangers in order to share the inmates’ thoughts. It hopefully entertains, educates and gives some insight into prison life.’ 24 HMP BARLINNIE 25 HMP Open Estate At HMP Open Estate photographer Fin Macrae asked those nearing the end of their sentences to reflect on the concept of ‘home’. The photographs displayed here represent the reality of rehabilitation – real lives and real choices – outside of prison. The workshops began with discussions on the history of photography, portraiture and early cameras – drawing on the national art collection’s significant holdings of photographic images for inspiration. Facing page left: Participant, HMP Open Estate (Castle Huntly), Gravestone, 2010 © NGS, Fin Macrae and Motherwell College 2011 Gravestone ‘The reason I took this picture was to show how important families are to a prisoner and to me especially.’ Whilst on home leave the participants shot their images using pinhole cameras they constructed themselves. What we see in these moving photographs is the pinhole camera’s tendency to develop an aura around ordinary scenes. Participant, HMP Open Estate Above right: Milton Rogovin, Scottish Miners, 1982, Scottish National Portrait Gallery ©Milton Rogovin 1982 Courtesy The Rogovin Collection, LLC The men composed their scenes from the everyday surroundings they returned to, but the images are resonant with their hopes of rebuilding their lives. The photographs highlight the sense of individuals – often isolated – facing up to the challenge of creating new lifestyles and identities. Right: Participant, HMP Open Estate (Castle Huntly), The Way I Feel, 2010 © NGS, Fin Macrae and Motherwell College 2011 ‘It’s taught me how to see me – how to see my life from the outside.’ 26 HMP OPEN ESTATE Participant, HMP Open Estate 27 Left on facing page: Photographs by HMP Open Estate (Castle Huntly) participants, left to right, Shadow, Untitled, Sunset, Window, 2010 © NGS, Fin Macrae and Motherwell College 2011 Right: Thomas Annan, Close, No. 46 Saltmarket, from Old Closes and Streets of Glasgow, 1868-71, Scottish National Portrait Gallery Fin Macrae described his aims for the project: ‘I was particularly keen that the images shot by the prisoners were all from outside prison – an alternative life – either a reflection on the past or thoughts of the potential of the future. The portraits relate to the participant in an environment – sometimes in the frame, sometimes not – but always interacting with the scene. I had subtitled the project Ghosts in the Machine… ghosts flitting through a scene… temporary appearances recorded as permanent… men moving through a system that is like a machine – not necessarily designed to work with the individual. The images portray something of everyday life… hope and optimism for the future, while expressing strongly a sense of loss. These are experiences and emotions that we can all identify with, whether we have been ‘inside’ or not. 28 HMP OPEN ESTATE 29 Mirrors: Documentary Film Featuring participants from HMP Shotts and HMP Open Estate Facing page left: Images from Mirrors (Art Class), 2010 © NGS, Lou McLoughlan and Motherwell College 2011 Director Lou McLoughlan’s film grips the viewer with its moving account of the investigative and creative power of the self-portrait. Her film was commissioned as a creative response to the Mirrors: Prison Portraits project. Lou McLoughlan worked in close collaboration with the participants on the National Galleries of Scotland’s projects in HMP Shotts and HMP Open Estate. Her film’s power lies in its visual simplicity. It successfully transmits the redemptive process of making self-portraits as part of rehabilitation. Lou’s ability to gain the trust of the participants enables them to share their most personal thoughts about the images they have created. These authentic voices are at the core of her film, providing additional insight alongside the hands we see carefully engaged in creating works of art. The medium of film enhances the reflective nature of the project. Lou’s camera acts as a ‘mirror’, witnessing the process of individuals exploring themselves and developing potential routes out of offending. Lou McLoughlan describes her film as follows: ‘It depicts creative acts made in challenging circumstances. By following the mark-making and thoughts of a group of prisoners as they make selfportraits, this film is a compelling portrait of self-reflection and change. It is a portrait of art-making at its most courageous.’ A DVD copy of the film is included at the back of this book. 30 MIRRORS DOCUMENTARY FILM 31 Comments Book Here is a selection of the public responses to the exhibition taken from the Comments Book and the feedback forms provided in the exhibition. What do you think of the exhibition? • I found it very interesting to get some insights into the mind of offenders through art. This way they can communicate to an audience who would probably never listen otherwise. • Personally I find this exhibition inspiring and interesting. Art therapy is rewarding both for prisoners and teachers, also for those viewing the work. It should also help to bring some understanding of the criminal justice system to the wider community. • Thought-provoking. My initial reaction is ‘oh, something different’, but soon, I’m more deeply touched by the honesty – the powerful yearning for freedom, the grief over time lost, opportunities wasted. The question of talent – which some clearly have – seems less important than the question of mercy and forgiveness not only from society to its outcasts, or the victims of the offender, but also the one stamped ‘wrong un’ or ‘defective’, or ‘bad’ or ‘criminal’, or the ones wielding the stamps. Too many of our solutions to society’s evils end in the violence of incarceration–a violence not merely physical, but more dreadfully and critically mental, emotional, spiritual. Seeing these photos, paintings, sketches, drawings and comic art gives me hope for the healing of a system that wounds those who often times are most in need of a listening ear, a kind word and a voice. • The variety is brilliant, something for everyone. Really important for lessening divides in society. I hope it reaches as wide an audience as possible. • It is a very imaginative and well-conceived project that should help prisoners and staff in prison and the public through increased understanding about prison and what it does. Has the work on show changed or challenged any of your opinions towards offenders? • It reminds you that people are just human and how easy it is to go down the wrong path and end up in jail. Also the majority of prisoners are remorseful of their actions and have paid the price for their crime. • They are people. We all have our dark sides and our bright side, we all wear masks to conceal brokenness. • Yes definitely, I think many people see offenders as people who do not know how to contribute to society other than through crime. This exhibition gives a chance to reconsider and reflect on how important self expression is to all. • It’s a reminder of the heterogeneity of prisoners. • Not so much changed my opinion of offenders – I mean ‘let he who is without sin’- as it has brought home the fact of the emotions that continue to work in the breast of us all, even if behind bars, or hidden from the view of ‘non-offenders’. • No, because I have always believed in young men/women to have the capacity for change. This merely confirms that belief. • Of course, but as my son had a custodial sentence I have insight into offenders and their families. • It allows you to see that there are two sides to their story. • The past seems to affect different offenders in different ways. Brittleness and boredom. Is there remorse in there somewhere? • Definitely challenged. It made me consider the discomfort that I realised I may experience if I was talking to an offender. It will take me a long time to change my opinion having considered this if indeed change it at all. 32 HMP SHOTTSBOOK COMMENTS • There is often a perception that criminals are bad through and through. Young offenders in particular are seen as having no ‘inner life’ no capacity for self reflection and change. The exhibition challenges that view. I was also struck by how little the women looked like criminals, whatever criminals look like! Do you consider arts projects with prisoners such as this worthwhile? • I think projects like this are definitely worthwhile, it is evident from the results that many of these people have talents they can pursue on release and a new way of expressing themselves that doesn’t lead to jail. • Yes, particularly the extent and depth of it, it wasn’t just a one-day project but a journey. • Yes it creates a bridge back to society so that when they are released they are not apart, or others. • I think these projects are very worthwhile. The help offenders think about their lives and about where they’re going, and show them that there is another side of life. They also encourage those who see the projects to see these people in a different light. • Absolutely! It asks all members of society to question themselves, how things are and how to change them. It can only make everyone more openminded and adds insight into exactly how things are. • Yes, it gives them a chance to re-engage with artistic society and realize that they can achieve something. • Yes I think so, moreover, I think it’s a good education for both prisoners and viewers. • Yes, very worthwhile. Whilst sharing experiences verbally with others can help, I am sure that taking time to document or reflect though art must repair on another level. • Yes, it gives the prisoners increased self-awareness and suggests a positive outcome. • Absolutely, any opportunity for personal expression can create a sense of hope or alternative. • Yes, it allows to personalise them showing that they have future dreams. • Yes, if it is continued and not just a one off. Art and its effects take years to manifest. • Yes I do. I do also wish that people who have not offended get these opportunities too. But by no means do I think these sorts of projects should be stopped. • Yes, because it helps them communicate – a type of dialogue with outsiders. Also helps them deliver the four capacities of the curriculum for excellence. Hopefully they become more responsible citizens in later life. Any other comments? • Would have been good to see more of the graphic art enlarged, the story of King Dexter and the rat king, a powerful and shocking parable of anger and alienation- a real story of the experience of many prisoners and a refreshing change from our wished for tales of remorse and rehabilitation. Confronting violence, the truth of it, is so vital. • Gives prisoners a chance to reflect about themselves, their crime and offers them a pleasurable release from prison life. • I like that they are all different media and types of prisons. I love the reflections on art that they did before creating their own. • Art expressed in this way is a powerful healing medium for offenders and gives the public an ‘insight’ into their world. • Hope you get funding to carry on this innovative work. 33 Mirrors Prison Portraits Participants Amanda Claire Victoria Alana Emma Bobbi Cheryl Jenna Nicola Habiba William Thomas James Lewis Gregg John Kris Adam Irving Scott Barry Patrick Lloyd James Ben Davie John Gerry Keiron Willie Jimmy Ian Gary Cameron Freddie Uisdean Allan William George Alexander Paul Gary David Craig John Alex David DVD ON INSIDE BACK COVER > Mirrors (Art Class), 2010 PAL 16:9 (Duration: 16'29") Documentary film of the National Galleries of Scotland Outreach project Mirrors: Prison Portraits directed by Lou McLoughlan © Lou McLoughlan, NGS and Motherwell College 2011 The National Galleries of Scotland are grateful to all the staff and managers in the Motherwell College Learning Centres in the five prisons involved in the project. The artists and NGS outreach officers involved in the project could not have achieved the results on display in this publication without the commitment and support of those who deliver education to offenders on an ongoing basis in Scottish prisons. We would also like to offer thanks to all Scottish Prison Service managers and staff who have aided us in the delivery of the project. Design: Andy McGregor Design & Media (www.andymcgregor.com) | Printed by Allander (www.allander.com) on paper by GF Smith 34 CREDITS