An aesthetic of the unknown

This paper begins to establish an 'aesthetic of the unknown' by drawing together theorists and approaches from mainstream art criticism to provide a starting-point for an aesthetic sympathetic with Jungian perspectives, in an attempt to bridge a gap between contemporary abstract painting, contemporary art theory and Jungian studies. This is a framework for approaching the abstract painting not as an object awaiting interpretation or 'reading', but rather as something that offers a numinous experience (or experience of the unknown), which can be thought about but may remain ultimately unknowable and irreducible. Such experience - involving both the unconscious and conscious mind - would provide glimpsesof forms of meaning not accessible to full rational exposition. This type of uncosciously understood meaning is explored, acknowledging that there is a need to preserve this encounter with the unknown and a need for a contemporary critical, theoretical framework that recognises the importance of this within abstract painting

The potential of painting: unlocking Disenfranchised Grief for people living with dementia

As part of the “Creative Well” programme at Betsi Cadwaladr University Health Board (BCUHN) North Wales, artist/researchers Megan Wyatt and Susan Liggett qualitatively investigated how painting can access a means of communication for people living with Dementia. In a workshop setting within a gallery environment at Ruthin Crafts Centre, participants living with dementia were facilitated on a one to one basis the opportunity to paint alongside the artist/researchers. The participants were from a wellestablished art group called “Lost in Art” that is managed by Denbighshire Arts Service. During the workshops, a number of experiences were articulated. These included experiences of illness, crisis and loss. They were captured through observations, interviews, visual art and video to contribute to new understandings and models of engagement through art for people living with dementia and their carers. Focusing on theory and practice in arts based research and the social sciences, this paper investigates the potential of painting to unlock experiences such as disenfranchised grief for people living with dementia. The conclusions do not measure how and if participants felt disenfranchised grief but rather provide an alternative to augment the body of knowledge surrounding how people living with dementia can communicate feelings of disenfranchised grief through painting. Objective: In this presentation I aim to outline the main findings from the above paper that is to be published in an academic journal later in the year on Illness Crisis and Loss published by Sage