The Artist in Residence at HMP
Grendon 2014-2018
Evaluation Report
October 2018

Elizabeth Yardley, Morag Kennedy,
Shona Robinson-Edwards, Martin
Glynn, Dan Rusu and Cristiana
CardosoContents
Introduction ................................................................................................................ 2
About the HMP Grendon artistic residency ............................................................. 2
Turbulent Times: The policy context of the artist in residence ................................ 3
About HMP Grendon .............................................................................................. 5
Evaluation Objectives and Methodology .................................................................... 9
The Research Brief ................................................................................................. 9Conceptualisation and Design ................................................................................ 9
Evaluation Themes and Concepts ...................................................................... 9
Evaluation Scope .............................................................................................. 11
Evaluation Methods........................................................................................... 12
Research Approval............................................................................................ 14
Key Findings of the Research .................................................................................. 16
Question 1. To what extent has the residency contributed to the development ofcritical discussion around prison, rehabilitation and criminality? ........................... 162016 and 2017 Grendon Exhibitions ................................................................. 16
Reponses to In Place of Hate............................................................................ 27
Question 2. To what extent has the residency had an impact upon the residents of
HMP Grendon in their journeys away from offending? ......................................... 41
Access to arts materials and resources ............................................................ 41
Rediscovery / development / diversification of technical abilities ...................... 42
Expression and reality-confrontation ................................................................. 43
Narrative Identities ............................................................................................ 44
Sharing artistic work with others, building relationships .................................... 46
Communalism ................................................................................................... 46
Exposure to new perspectives and views ......................................................... 47
Engagement in an artistic community ............................................................... 48
Inspiration, accessibility and support without pressure ..................................... 49
Prison and the arts – general observations and thoughts ................................. 50

Summary ........................................................................................................... 51
Conclusions.............................................................................................................. 52
To what extent has the residency contributed to the critical debate around prison,rehabilitation and criminality? ............................................................................... 52
To what extent has the residency had an impact upon the residents of HMP
Grendon in their journeys away from offending? .................................................. 52
Recommendations ................................................................................................... 54
References ............................................................................................................... 55

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Introduction
In September 2015, Birmingham City University were commissioned by Ikon Gallery
to lead an evaluation of the second artist in residence at HMP Grendon. The
Research Team was led by Professor Elizabeth Yardley and Dr Martin Glynn with
Shona Robinson-Edwards, Morag Kennedy, Dan Rusu and Cristiana Cardoso
contributing towards the project as Research Assistants. This final report details thefindings of the evaluation and proposes a set of recommendations regarding thefuture of the artist in residence at HMP Grendon.

About the HMP Grendon artistic residency
The artist in residence at HMP Grendon is supported by the Marie Louise vonMotesiczky Charitable Trust. The 2014-2018 residency was the second such projectat HMP Grendon and during this time, the role of the artist in residence has been
occupied by Edmund Clark. Clark’s residency was preceded by the residency of
Lorna Giézot, which ran between 2010 and 2014. This residency was also supportedby the Marie Louise von Motesiczky Charitable Trust, demonstrating the Trust’s
longstanding commitment to artistic residencies at HMP Grendon. The 2010-2014
residency was evaluated by Dr Laura Caulfield of Birmingham City University(Caulfield, 2011), drew upon interview data with 16 residents, and noted thefollowing positive impacts:

The residency was open and inclusive - in part a benefit of having sessions oneach wing;The notion of 'responsivity' is key in successful working with offenders. The
residency embodied this concept, being highly responsive to the needs ofindividuals;

For the most part the residency groups formed as supportive and nurturing
environments, yet also spaces where constructive criticism was encouraged.
This was particularly significant because outside of their Grendon community,
many of the men were unlikely to have ever experienced truly supportive andco-operative group environments;

The men experienced considerable progress in their creative and technicalabilities;

Many of the men experienced significant improvements in confidence andself-esteem;2

The men who had been involved in the activities worked on their art outside ofsessions, providing them with constructive activity for which they felt great
enthusiasm.

The aim of Clark’s 2014-2018 residency was to develop a critical discussion aroundprison, rehabilitation and criminality. Clark’s role as the artist in residence involved
developing a body of his own work in response to the prison and helping to facilitate
the artwork and creativity of men serving sentences at HMP Grendon – hereafterreferred to as ‘residents’. Clark explored HMP Grendon as an environment, aprocess and a place of incarceration. This involved becoming familiar with structure
and culture of the prison and engaging with residents and prison staff.
Clark’s role was not one of Art Tutor or Art Therapist. His role did not involve
overseeing studio activity or participating in the therapeutic programme. Rather, heorganised discussion groups about the art work that residents made on their own,
often in their cells, sharing thoughts while procuring art materials. In November 2015,2016, 2017 and 2018 Clark worked with the residents to put on an art exhibition in
the prison’s conference centre. This provided the opportunity for residents to meet
visitors, among them arts professionals, and talk about their work. As such, Clark
devised an informal art course of sorts considering his ongoing experiences during
his residency. Clark’s residency at HMP Grendon culminated in his own exhibition at
Ikon Gallery, which opened in December 2017. Ikon Gallery also led the digital andmedia campaign around the Ikon exhibition in addition to arranging a February 2018
symposium, which attempted to bring about more active discourse around criminal
justice.

Turbulent Times: The policy context of the artist in residence
The broader context of Clark’s residency at HMP Grendon was a challenging one for
the English and Welsh prison system. Since the coming to office of the Coalition
Government in 2010, there had been significant cuts to public services in responseto events following the 2008 financial crash. In 2010, the then Secretary of State for
Justice, Kenneth Clark, expressed his support for government austerity measuresand noted that serious consideration should be given to reducing the number ofpeople in prison. His proposals were backed by the then Prime Minister David
Cameron and the then Chancellor of the Exchequer George Osborne. However,
Clark was replaced by Chris Grayling in 2012 and whilst his successor shared theaim of reducing the Ministry of Justice budgets, this did not involve a commitment to
reducing rates of incarceration.
With Chris Grayling at the helm of the department, February 2015 saw the launch of
the Ministry of Justice’s Transforming Rehabilitation initiative, which involved theoutsourcing of a large portion of the probation service. Thirty-five individual Probation
Trusts were replaced with the National Probation Service, tasked with the3management of high-risk offenders. Twenty-One Community Rehabilitation
Companies – or CRCs – would take on responsibility for managing low to medium
risk offenders and the supervision of short-sentence prisoners (those sentenced toless than 12 months in prison) on release. Critics argued that the focus on theprivatisation of probation was a distraction from the growing problems within theprison system.
Grayling was succeeded as justice secretary by Michael Gove in May 2015. Many
saw Gove – a former Education Secretary - as a potential reformer, particularly after
designating six institutions the status of “reform prisons”. Gove had several
challenges on his hands. However, he was reluctant to invest additional funds in theservice and agreed to budget savings of between 25% and 40% over five years in a2015 settlement. The Prison Reform Trust’s annual prison fact file of that year noted,…a new impoverished normality…Violence and disorder have risen sharply.
Suicides continue to rise…Longstanding structural flaws remain. More than aquarter of prisoners live in overcrowded conditions…20% to 30% of prisoners
have a learning disability or difficulty that interferes with their ability tounderstand the criminal justice system. A staggering 12,000 prisoners do noteven know when they will be released…average sentence length has
increased by a third. (Prison Reform Trust, 2015)
Following the election of the new Prime Minister Theresa May in July 2016, Gove
was removed from his post. Gove’s replacement, Elizabeth Truss, appeared to havesecured a small victory in 2016 when the government pledged to recruit more prison
officers. However, Truss’s tenure as justice secretary was short lived and she was
replaced by David Lidington in June 2017. The Prison Reform Trust’s 2017 prison
fact file was concerning reading for all those with a stake in the prison system. The
report stated that 300 people had died in prison in the year to September 2017, overa quarter of whom had taken their own lives. The report also claimed that prisoners
and staff were less safe than they had been at any other time since records began.
In addition, the prison system was reported to have been overcrowded every year
since 1994. In 2016-17, almost a quarter or prisoners were held in overcrowded
accommodation, many doubling up in cells designed for one. However, the report
also quoted figures from the Ministry of Justice stating that spending on prisons had
begun to increase and additional budgets of up to £500 million had been committed
to a government safety and reform programme between 2017-18 and 2018-20. The
report included words of advice for David Lidington,
Given this briefing’s depressing catalogue of failure to improve conditions in
our prisons over the last 12 months, it is essential that the current justicesecretary—a historian himself—learns the lessons of the past. He can nomore build his way to a decent prison service than any of his predecessors.
There is an affordable and practical route to reform, but it requires afundamental rethink of who goes to prison, and for how long. A wise secretary4

of state should choose no other foundation on which to build. (Prison Reform
Trust, 2017)
Only months later, Lidington would be gone. He served only seven months in post
prior to being succeeded by David Gauke in January 2018. Gauke is the sixth person
to occupy the post of Secretary of State for Justice in the eight-year period from2010. In the summer of 2017 there were riots at the Mount prison – the same
institution which had received considerable praise in its inspection report of 2015
(HM Chief Inspector of Prisons, 2015). Commenting on the context at the time, one
critic has argued,
Cameron and Osborne made the call that people didn’t care very much about
the condition of our prisons, and if budgets were to be cut this was a place to
cut particularly deeply. They ignored the signs that the system was creaking
and forgot that changing your justice secretary every 18 months is a sure-fireway to create problems. Most importantly, they forgot that there is no better
symbol that government is out of control than riots within the facilities they aremeant to run. (Gash, 2017).
This was the context of Clark’s residency – a prison system characterised by aturbulent policy context and a lack of investment that had gone on for so long that it
could be argued that ‘crisis’ had become the new normal. This system had been away of life for many of the prisoners who Clark would come to work with at HMP
Grendon. However, HMP Grendon is unlike other institutions in many respects. The
following section provides an overview of Grendon’s history, structure and culture.

About HMP Grendon
HMP Grendon differs from many other institutions within the English and Welsh
prison estate in that it is the only prison to operate wholly as a therapeuticcommunity. The prison can be described as a democratic therapeutic community(DTC), which contrasts with the concept-based hierarchical therapeutic communities(HTCs) seen in the United States. Both are heavily community-based and address
psychological disturbance, but HTCs focus on individuals for whom drug abuse is thesymptom, while DTCs focus on individuals for whom offending is the symptom—
ultimately, HTCs deal with a narrower group of individuals (Lipton, 2010). HTCs are
firmly stratified, with identifiable chains of command, whereas DTCs have a flatterstructure and interactions between staff and residents are less formal. In HTCs, moststaff are recovering addicts, while in DTCs they are professional psychologists andtherapeutically trained correctional officers. Within the HTC, work is the organisingprinciple, while in the DTC, jobs are still important but are just one among manybuilding blocks of the therapeutic process.
Potential residents apply to go to HMP Grendon and must demonstrate a significant
commitment to change (Ministry of Justice [MoJ], 2017; for a general introduction to
the work of HMP Grendon, see Genders and Player, 1995). If successful, the5applicants then spend an initial period in the induction unit, where their motivationand capacity for engaging in the therapeutic regime are observed. The staff thendecide either to progress the applicant onto one of the main wings or to return themto their sending institution (Brookes, 2010a). If applicants still wish to continue, theymust be serving sentences that will allow a stay of at least 24 months at Grendon(MoJ, 2017), a stay that for many will represent a period within their prison life rather
than the destination; having completed therapy at Grendon, most are thentransferred to other establishments, with an average of only six men released fromGrendon directly into the community each year (Brookes, 2012). The prison is home
to up to 235 residents (HM Chief Inspector of Prisons, 2017), the clear majority ofwhom are serving life sentences (Brookes, 2012). The main offences of HMP
Grendon residents are violence against the person (62.4%), sexual offences(19.3%), robbery (13.3%), and other offences (5%; HM Chief Inspector of Prisons,2011). Grendon residents present complex needs and psychological disturbance,some have engaged in self-harm and suicidal behaviours, and many have asignificant history of institutional misconduct in other prisons (Newberry, 2009;
Newton, 2010; Shine and Newton, 2000). However, Grendon represents, for thesemen, an opportunity to embark upon a process of change with the “supportive andaffirmative social climate” of the DTC (Shuker, 2010, p. 463).
Rapoport’s (1960) four underlying principles of TCs—democratisation,
permissiveness, communalism, and reality confrontation—are operationalised within
HMP Grendon through several mechanisms. Every Tuesday, Wednesday, andThursday, residents participate in small therapy groups (Brookes, 2010b). The small
therapy groups, consisting of up to eight people, are the forums within which allelements of residents’ lives are considered and discussed, including childhood,family life, offences, victims, educational experiences, relationships, working life, andincidents or events that have occurred in the prison. While “permissiveness”(Rapoport, 1960) enables residents to behave “as normal” and tolerate each other’s
perceived deviancy within the community, “reality confrontation” (Rapoport, 1960)
comes to the fore in the small therapy groups, where all behaviours come under
scrutiny. Residents reporting their experiences within the small therapy groups
emphasise that the therapeutic process “is not an easy option” (Brookes, 2010a, p.
483), as “Don,” one of the participants in Stevens’s (2013) research, comments,
You’re talking about yourself day in, day out, really personal stuff and eventhough I know the end result is absolutely joy, at the present time, it’s hard
and I feel like I’m being punished every day. I don’t sleep. I’m talking about
things that I never thought I’d talk about and it’s daunting; it really is. How
horrible it is when you’re lying in your pad knowing you’ve got to come down
here next day and talk some more. Sometimes I just hate it and want to leave,
but I know I’ll benefit in the end and so will everyone else, because I won’t berunning around causing mayhem. (p. 73)

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Progress made within the small therapy groups is communicated to other staff andresidents through wing-community meetings at which additional issues affecting
community life are discussed and voted upon, for example, the organisation andallocation of paid work. The twice-weekly community meetings are an example of“democratization” (Rapoport, 1960) at work in HMP Grendon—meetings are chairedby an elected resident and enable ongoing access to the decision-making process
for all residents. Community meetings also provide a glimpse into the principle of“communalism” (Rapoport, 1960). All residents take on responsibilities relating totheir physical environment and the events that happen within that environment.
Every resident will undertake a series of “rep jobs,” which may include roles asdiverse as entertainment coordinator, health and hygiene compliance officer, family
day coordinator, or drugs strategy advisor (Stevens, 2013, p. 104). Therefore, HMP
Grendon is a living-learning situation (Kennard, 1998), within which “every aspect ofprison life is an integral component within the therapeutic environment” (Brookes,
2010b, p. 103). Narrative is central to psychotherapeutic interventions in which life
stories are elicited, interrogated, critiqued, and reformed (Adler, Skalina, andMcAdams, 2008; Adshead, 2011; Lieblich, McAdams, and Josselson, 2004), and
HMP Grendon is no exception—such an environment is a facilitator of narrative
reconstruction, as Stevens (2013) notes,. . . conventional “con” self-narratives, those hypermasculine, antiauthoritarian, crime glorifying, risk-taking tales of criminal derring-do,sometimes intertwined with self-pitying justifications to the effect that “lifemade me do it” (p. 159)
The scrutiny applied by staff and fellow residents within the small group andcommunity settings enables such narratives to be actively challenged and reframed,
supporting each resident’s evolving model of a ‘good life’1. This process involves thediscovery, rediscovery, and trying-on of identities—which are created andmaintained by alternative narratives and are not premised upon their master status
as an offender or prisoner (Stevens, 2013). In the later stages of therapy, newidentities and the narratives through which they are given meaning are tested,reflected upon, and approved by fellow residents (Genders and Player, 1995;
Stevens, 2012; Wilson and McCabe, 2002). Interrogation of the narratives deployedin the telling of life stories during small group sessions is central to the therapeutic
1

The Good Lives Model of offender rehabilitation is a strengths-based approach to rehabilitation concerned with theenhancing offenders’ capabilities rather than simply focusing upon deficits or risks. The GLM is based on the premisethat both offenders and non-offenders pursue the same range of goals or ‘primary goods’ in life – which includes statesof mind, personal characteristics, activities and experiences. These goods are sought as ends in themselves andachieving them increases the likelihood of psychological well-being. The core primary goods are: life (including healthyliving and functioning), knowledge, excellence in work and play (including mastery experiences), excellence in agency(i.e., autonomy and self-directedness), inner peace (i.e., freedom from emotional turmoil and stress), friendship(including intimate, romantic, and family relationships), community, spirituality (in the broad sense of finding meaningand purpose in life), happiness, and creativity. Secondary goods provide pathways of securing these, for example,
certain types of work (i.e., good of mastery), relationships (i.e., good of intimacy), or leisure activities (i.e., good of play).
The primary aim of GLM is to equip people with the knowledge, skills, and competencies to reach these goals goods ina pro-social, non-harmful way once released from prison. (Ward and Maruna, 2007).

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process. Peers and staff actively critique the narratives adopted, challenging those
who are bereft of personal responsibility, as self-narratives “act to shape and guide
future behaviour, as persons act in ways that agree with the stories or myths they
have created about themselves” (Brookes, 2010b, p. 105). In her research withGrendon residents in the later stages of therapy, Stevens’s participants displayed ashift from their old offending selves to a “new me” (Stevens, 2012, p. 14),summarised below:
To hear these residents narrate the ways in which they had changed in the
TC and describe their belief that these changes were “for real” was therefore
powerfully affecting…Hopelessness had been replaced by hope, and low selfesteem by self-confidence and self-efficacy…they could construct their own
self-fulfilling prophecy and embed it within the reconstructed narrative identity.
(Stevens, 2013, pp. 162-163)
Therefore, HMP Grendon residents leave therapy with redemption scripts (Maruna,2001) or restoried lives, forming part of a toolkit alongside psychological, physical,
and social resources—these components all come together to enable better plans
for living a good life. This history, structure and culture of HMP Grendon provided aunique space for the artist in residence. The remainder of this document reports
upon the evaluation which aimed to capture the extent to which a critical discussion
around prison, rehabilitation and criminality developed from this space.

8

Evaluation Objectives and Methodology
The Research Brief
The research brief was to undertake an evaluation of the artist in residence at HMP
Grendon with regards to the extent to which the residency had met its aim. This aim
was - To develop a discussion about prison, rehabilitation and criminality. The
research was to focus its activity upon the two objectives through which this aim wasto be met. Firstly, the artist producing a body of his own work, and secondly, theartist sharing his practice with long-term residents of HMP Grendon.
From this research brief, the Research Team established two central researchquestions:
1. To what extent has the residency contributed to the development of critical
discussion around prison, rehabilitation and criminality?
2. To what extent has the residency had an impact upon the residents of HMP
Grendon in their journeys away from offending?

Conceptualisation and Design
The evaluation commenced with a scoping exercise and literature review, which ran
between November 2015 and April 2016. The purpose of these activities was tofurther explore the aims and objectives of the residency and draw upon existing
research from a range of literature to develop a conceptual framework andmethodology for the evaluation. The findings of the scoping exercise and literature
review were presented to the Trustees of the Marie Louise von Motesiczky (MLVM)
Charitable Trust in May 2016.

Evaluation Themes and Concepts
The literature review and scoping exercise led to the identification of key concepts
and themes that were important for the evaluation to explore. These concepts andthemes are outlined below. Their relevance and importance for the evaluation is
explained and questions are posed in relation to each one.


Uniqueness of HMP Grendon. As the only prison in the English and Welsh
prison estate to operate wholly as a therapeutic community, HMP Grendon is
unique; it is an exception to the rule. It was therefore important that theevaluation explored the extent to which the residency captured thisuniqueness. However, HMP Grendon is, nevertheless, still part of the prison
estate and, as such, must comply with the institutional policies, rules andprocedures that apply to the management of all prisons. Therefore, the9evaluation explored the extent to which the tension between uniqueness andconformity emerged within the residency.
Narratives of HMP Grendon residents. We all construct stories, which we use
to tell others about our lives and establish our own sense of identity or selfnarrative (McAdams, 1993, 2008). At HMP Grendon, residents analyse andconfront their stories (Brookes, 2009, 2010b). Challenging the narrative
identity is a key part of leaving crime behind (Maruna, 2001) and, as such, thisis an important premise of the therapeutic approach at HMP Grendon.
Photography is similarly about storytelling and the construction of narrative.
However, photography has played a significant role in constructing thecriminal body and identifying criminals as deviant, distinct and other (Carney,
2010; Carrabine, 2014; Ferrell and Van de Voorde, 2010; Sekula, 1986).
Therefore, photography is also about control, decisions and choices.
Residents at Grendon have been – and many always will be – under someform of monitoring and surveillance. Decisions about them are taken by others
and representations of them are produced by others. In relation to the images
produced during the residency, the Research Team anticipated that this may
raise some interesting questions around their control over narratives. For
example, what were the resident’s views around the narratives associatedwith the images? What were their thoughts on the meaning that audiences
may attribute to the images – and in turn – the residents’ narratives? To what
extent did the residency and the images that emerged from it play a role in theshifting narrative identities of the men? Art is about identity, defining oneself
in a particular way through creative expression – how would this have an
impact upon the residents’ desistance journeys?



HMP Grendon residents as stakeholders in the images. HMP Grendon is atherapeutic community underpinned by principles such as democratizationand communalism (Rapoport, 1960; Genders and Player, 1995). Everyone in
the community plays a role in nurturing and maintaining the culture andphysical environment. Therefore, residents had a significant stake in theimages Clark produced during the residency. HMP Grendon is their home their space - over which they have a sense a sense of ownership and pride.
As such, the evaluation sought to engage their views about the images
produced during the residency. Photography has historically been done toprisoners– Clark’s work represented photography that was done withresidents– what were their views about this?

Counter-images and counter-narratives. Prisons are often seen as closed andseparate entities existing on the edges of mainstream society. This supports
the othering of prisoners – if they cannot be seen they are easier to demoniseand exclude (Cheliotis, 2010). The public rely heavily upon media
representations of prison and ‘official’ images created by the Ministry of10

Justice, HM Prison and Probation Service and their service providers.
However, some images have the potential to challenge official discourses.
The images created during the residency might be considered an example ofthe counter image, and in turn the counter narrative (Brown, 2014; Schept,2014). Through prompting reflection upon lives lived out behind prison walls,
the images Clark would produce had the potential to facilitate a re-humanisingof the residents. To what extent was this realised? In addition, the Research
Team anticipated that the residency may also evoke broader questions
around attitudes, beliefs and values in relation to control within society(Deleuze, 1992).
Victimhood and offending. The residents at Grendon are men who have in thepast been labelled as “evil” and “bad”, defined by their crimes. Theirexperiences at Grendon involve reflecting upon their early lives andchildhoods, which often encompass other identities – for example as victims(Stevens, 2012, 2013). Whilst Clark’s images do not depict the residents or
identify them personally, the images are representations of them and theirlives and the spaces in which these lives are lived. This is relevant in relation
to residents’ narratives as the images will inevitably invite questions about
who they are and what they have done. How do residents feel about this andthe audiences’ ability to separate the images from the context of theircreation?

Affect and encounter. The images produced during the residency would beseen by audiences. This included those present at the annual Grendon
Exhibition and In Place of Hate at Ikon. In addition, audiences would also be
indirect in nature – for instance those who may see coverage of the residency
in mainstream or social media. As the aim of the residency was to develop adebate about prison, rehabilitation and criminality, the evaluation needed to
explore the reception that the images received from these audiences –essentially the affect that was generated from the encounter with the image(Young, 2005, 2008, 2010, 2014). What affect does an encounter with theimage engender in those who attend the exhibitions? Were the images
opening a more compassionate envisioning of the residents and the spaces inwhich they are held? Were they showing the impossibility of being able tojudge? Beyond the exhibition, what affect does an encounter with the image
engender among wider audiences? What was the nature of debate taking
place in mainstream and social media? Did the counter-images and counternarratives produced and stimulated by the residency gain traction media
environments?

Evaluation Scope
Having identified key themes and concepts, the scope of the evaluation is presented
below. This outlines the key groups with whom the evaluation sought to engage.
11

1. Impact of residency upon HMP Grendon residents and staff;
2. Impact of residency upon wider stakeholders;
3. Impact of residency upon wider debates around prison, rehabilitation andcriminality;a. Amongst direct audiences – annual Grendon Exhibitions, In Place ofHate Exhibition;b. Amongst indirect audiences – mainstream media, online and social
media debates and discussions.

Evaluation Methods
The following sections outline the methods that were used in collecting andanalysing data for the evaluation and explains why they were appropriate. The key
methods and techniques planned by the Research Team were semi-structured
interviews / image-elicitation interviews, participant observation and media analysis.

Semi-structured interviews / image-elicitation interviews
Image-elicitation interviews (IEIs) are a type of semi-structured interview which
presented an opportunity to develop insights into several of the key concepts andthemes within the evaluation. They are an example of a visual research method(Rose, 2012) and are essentially a way of integrating images into the interview
process and, as such, eliciting new layers of data (Gariglio, 2015). One such layer isthe visual narrative - stories which are constructed with (and / or about) images thatthemselves tell a story (Riessman, 2001, 2008). The Research Team used IEIs
alongside traditional semi-structured interviews to explore narratives around theimages created by Clark and the residents during the residency. Within IEIs,
participants had the space and flexibility to explore what images meant to them.
Images were used to inspire dialogue, to give the participants more scope andfreedom to construct and share their narratives than was possible in semi-structured
interviews. The questions posed during the interviews were flexible and responded
to the natural flow of conversation around the images being discussed.
Interviews were led by Professor Yardley or Dr Glynn. In relation to interviews thattook place at Grendon, Shona Robinson-Edwards was in attendance and took
handwritten notes of the interviews. Interviews outside of Grendon were recorded
using a digital recorder with the permission of the interviewee. All participants wereallocated non-gender specific pseudonyms. Handwritten notes were typed up after
the interviews and audio recordings were transcribed. The data was analysed via
qualitative thematic analysis, assisted by NVivo qualitative analysis software (QSR
International, 2012). Examples of the type of question that were included when an
image was being explored were:
What is in the image?
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What is the image of, what do you think it represents?
How is the image presented?
Who do you think will see it?
What does the image show?
What does it conceal?
Why do you think particular things are shown or hidden?
How does the image affect you?
What are your thoughts and feelings about it?
How do you interpret the image – is it a ‘counter’ image?
Does it make you look at the subject in a different way?

We carried out ten interviews with Grendon Residents. Six interviews were carriedout with residents who were at HMP Grendon at the time of the evaluation. These
interviews involved exploring residents’ experiences of the residency, images that
had been created by Clark during the residency and where applicable, images
created by the residents themselves. We also wrote to and received replies from four
residents who were at other institutions or released from prison at the time of theevaluation but who had previously been involved in the sessions Clark ran at theprison. Nine participants were residents who had engaged with the residency –notably through participating in Clark’s discussion group and producing their own
artwork. One was not directly involved to this extent but shared his observations
about the impact on his fellow residents. We also received written material from two
residents who had shared their reflections on the residency via the comments boxes
that were situated in each wing. We conducted four interviews with members of staff.
We conducted nine interviews with wider stakeholders – all representatives oforganisations working at the interface of the criminal justice system and the arts andcultural sphere who had attended one of the Grendon Exhibitions or were at least
aware of the residency.

Participant Observation
The events at which the images from the residency were exhibited and discussed
represented important opportunities to explore the impact of the residency upondebate about prison, rehabilitation and criminality. Annual exhibitions were held at
the prison in November 2016 and November 2017. At these events, the Research
Team engaged with the concepts of the encounter with the image and the affect thatthe encounter engenders (Young, 2005, 2008, 2010. 2014). As such, members of
the Research Team attended these events and conducted participant observation.
13

This involved being amongst the audience as they were looking at the images andnoting reactions and key themes within conversations that were taking place during
these encounters. The observation was overt in that attendees were aware of thepresence of the Research Team and the fact that we were there to talk to people
about their thoughts and impressions. The Research Team took notes of
conversations, which were included in the thematic analysis.

Media Analysis
It was anticipated that the residency would spark considerable debate in mainstream
and social media around the themes of prisons, rehabilitation and criminality. Given
that the aim of the residency was to develop a public discourse around these
themes, it was important to capture the nature and extent of such debates. The
Research Team were keen to capture and analyse such debates in relation to the
Grendon residency to explore what themes were being raised around prisons,rehabilitation and criminality and what attitudes, values and beliefs were evident in
discussions. This enabled the evaluation to consider the impact of the residency
beyond the direct and immediate stakeholders.
The Research Team conducted a structured search for any relevant content throughsetting up Google alerts using combinations of key search terms such as “Edmund
Clark”, “Artist in Residence” and “HMP Grendon”. We also monitored social media
platforms. In some instances we used specialist software programmes. For example,
we used Chorus Analytics (Brooker, Barnett and Cribbin, 2016) to collect Tweets
sent after the opening of In Place of Hate. On other platforms, we conducted generalsearches – for instance in relation to Instagram, we collected all posts in which Ikon
Gallery was tagged as a location and saved those relating to the exhibition. All suchcontent was copied to a repository before being uploaded to the NVivo qualitative
data analysis software. We used qualitative thematic analysis to draw meaning fromthe data. The data for the general media content analysis was collected from June
2016 to January 2018. Social media content was collected during the first six weeksof the In Place of Hate exhibition.

Research Approval
The Research Team applied to relevant bodies seeking approval for the research an internal university ethics committee and the National Offender Management
Service (NOMS). Our application to the Birmingham City University Faculty ofBusiness, Law and Social Sciences Research Ethics Committee was approved inJune 2016. The Research Team also applied to the National Offender Management
Service. This was considered at the July 2016 committee and approval was granted
in August 2016 (REF 2016-274) subject to a range of revisions. We received final
approval for the prison-based elements of the evaluation in November 2016. With
the Evaluation Framework and initial research materials finalised and all necessary
14

approvals in place, the non-prison-based data collection commenced in June 2016
and the research with HMP Grendon residents commenced in October 2017.

15

Key Findings of the ResearchThis section presents the key findings of the evaluation in relation to the two main
research questions.

Question 1. To what extent has the residency contributed to the developmentof critical discussion around prison, rehabilitation and criminality?
The findings reported in this section relate firstly to the participant observations
conducted at the Grendon Exhibitions and semi-structured interviews withstakeholders who attended these events. The data collection period encompassed
the exhibitions in 2016 and 2017 – but as previously noted, there were additional
exhibitions in 2015 and 2018 that fell outside of the scope of the evaluation and assuch, are not captured by the research. Following on from this, we identify key
themes emerging from mainstream and social media coverage of the In Place ofHate exhibition. This section of the report concludes in a summary of our findings inrelation to the question, “To what extent has the residency contributed to thedevelopment of critical discussion around prison, rehabilitation and criminality?”.

2016 and 2017 Grendon Exhibitions
In November 2016 and November 2017, exhibitions of work created by residents
during Edmund’s artistic residency took place. Below are the key themes to emerge
from analysis of our observations and semi-structured interviews with those who
attended the exhibitions.
The art gallery
The environment in which the work was exhibited at HMP Grendon drew comment
from many attendees. Some were surprised at how professional the set-up was. The
residents were considered serious artists and not simply hobbyists. This wasimportant for conveying the significance of the residents’ work. This was an
exhibition, not an attempt at an exhibition.
On entering the exhibition, the layout, presentation and organisation of thework was really impressive. It looked like an art gallery. (Sarah)
The exhibition space was housed in a large hut. On entering the space myfirst thoughts were how impressive it all looked. It was literally transformed
into a space that any gallery in the community would have been proud of.
(Billy)I could see the other visitors expressing all sorts of gasps and sighs in
response to the power of the art on display. (John)

16

Visitors expressed delight and amazement at the pieces of work that were on
display. (Research Team Field Notes)

Audience diversity
The Research Team noted that there was a lack of diversity amongst the audienceat the Grendon Exhibitions. There appeared to be an over-representation of people
from an arts background and an under-representation of people from ethnic minority
groups or working-class backgrounds. This was commented upon by two attendees,
The one thing that struck me as a bit of a negative was that the visitors didn’t
look like the prisoners if you know what I mean. They (the prisoners) varied inage, race and social background but the visitors tended to look a lot like me –artsy, over 30, female, white and probably middle class. You don’t have to bereally into your art to appreciate what’s being shown here either – so manydifferent people could have their eyes opened by this, I thought that was a bitof a shame. (Sonia)
To my dismay the lack of diversity among the audience was quite
disconcerting. There were no people of colour outside the evaluation team.
For me this was troubling – this experience could have benefitted by having adiverse group of consumers. Those are really important questions – ‘How
representative were those who were observing, watching and engaging withthe prison-based artists?’, ‘Would those audiences connect with the artists on
a level beyond the creative representations?’ (Billy)

Prisoners who produce artwork or artists who happen to be in prison?
The issue of identity often arose during our observations and interviews withattendees. The attendees - whilst clearly aware of the fact that the residents were
prisoners who were serving sentences for serious offences – often commented upon
the primacy of the artwork in relation to the exhibition. Whilst there was somediscussion of offending and what the men had done in the past, this wascontextualised in relation to the artwork that they had produced in terms of how theirexperiences had shaped what they had created.
At the start I did ask myself, ‘Was I here to witness a spectacle of offenders
presenting art or artists representing life from inside prison?’. I’m pleased to
say that by the end of the day, it had been very much the latter. (Billy)
For me the most extraordinary aspect was that in asking them about theirwork and what they were intending to do and then feeding back to them myreactions and observations, I almost automatically slipped back into sort oftutorial mode. So, in fact it was just like talking to art students. It’s almost as if
the prison around you disappears when you’re talking about the work. (Geoff)17

Yes, I was aware that I was in a prison and they would go back to their wings
afterwards and each of them had some sort of awful history in terms of what
they’d done but that wasn’t part of it. Neither did it feel important. I didn’t feel I
wanted to ask them anything about who they had been. It was what they had
produced and who they were and how they were thinking about themselves
now that I was interested in. (Damien)
Visitors in the room did not appear outwardly bothered by the residents’ pastoffences, the sole focus appeared to be on the resident as an artist, not an
offender. (Research Team Field Notes)

Becoming an artist
The attendees spent time speaking with the residents about their artwork and thisraised a range of themes and perspectives around the residents’ development as
artists. Attendees commented on the varying levels of confidence that the residents
displayed and noted that this had given them some insights into the different stagesof development that the residents were at. It was observed that the residents had not
all begun their journey at the same time, nor would they all progress at the samepace. Attendees spoke of how the identity of ‘the artist’ is one that some of themmen seemed very comfortable and confident within whilst others were reluctant to
use it as a way of describing themselves. There was a new appreciation amongst
some attendees that these men’s’ journeys as artists sometimes looked very
different from the trajectory of artists who had not been in prison. It was also clearthat the residents enjoyed and benefitted from being able to discuss their artworkwith people they had not met before and experience the process of articulating themeaning and significance of their work to an audience who were interested in it.
The younger men I spoke to talked about how the sheer weight of theirsentence eclipsed the work itself, whilst the older men revealed the difficulty
and upset at experiencing such as positive moment so late on in their lives.
(Billy)I wasn’t expecting the men to be so articulate and self-confident. One man
was really open about his inspiration. I felt a bit bad about being surprised –why wouldn’t they be articulate and confident? I think that just shows howeven people like me who work in the arts can buy into some of the prejudicesabout prisoners. (Sonia)
When he explained what it was, it made sense, but he was a bit taken abackthat I couldn’t see what it actually represented so we were able to talk about
my response to it and his surprise at my response. It was very much a
dialogue in that sense. I had to ask “What does this actually represent?”
because it wasn’t clear at all but it was to all intents and purposes a
representational drawing. (Jenna)18

It wasn’t just people producing something as a demonstration that they could
do it – they were genuinely learning and developing through making thesethings. (Geoff)
Many received a lot of praise for their efforts and talent. Some expressed thatthey were not used to receiving so much positive feedback. In a sense it isunderstandable how this could be both an overwhelming and encouraging
process. (Research Team Notes)

The importance of context – stories of the artwork
Attendees at the exhibitions noted the importance of the context of the work. Forthem it was crucial that the residents were in attendance to explain the creative
process and meaning of their work to the visitors. Some attendees noted that they
had visited the website prior to the exhibition and looked at images of the artworkthat the residents had created. However, they stated that the thoughts and feelings
they experienced through seeing and discussing work at the exhibition wasconsiderably different from merely looking at the images on the website. When
context was provided in this way, attendees were much more able to see therelevance of particular pieces of work in terms of the broader themes of prison,rehabilitation and criminality and engage in more critical debate around these
themes. Several attendees had visited other exhibitions of artwork created by
offenders - where the artists were not present - and noted that the Grendon
Exhibition was unique. Their discussions with the artists opened up a dialogue not
only about that individual’s art but its connection to contemporary debates aroundcriminal justice. It was also noted that the stories behind the artwork have a role toplay in tackling the ‘othering’ of prisoners amongst the general public and the media.
One point that occurred to me was that the images of the prisoners’ work on
the website – maybe there were stories behind them that could light them up
for me. The problem was that I did not know those stories (Geoff)
For people seeing this work – and indeed Edmund’s work – outside of thisenvironment, stories and narrative are important. Finding out about
someone’s journey or the story behind an image, which doesn’t need to go
into personal detail and all the hullabaloo that creates, acts to personalise
these artists. They’re not just numbers or unseen faces behind prison walls
but people with experiences and aspirations, people who the public canperhaps begin to feel empathy for and maybe help to start to address theirprejudices attitudes about offenders. (John)
There’s always a tendency that one would look upon these as artworks in adisembodied way. It was only when the individuals talked about why they tookthat form, why they had chosen to make those things and the significance thatthey had for them that the whole thing began to make sense. (Jenna)

19

I was particularly impressed by how each man who was exhibiting could
clearly describe what it was that had inspired them. They were fluid andengaging in what they said. (Damien)
Each man had a story to tell, was eager to share their story, where they
revealed the history behind their art. For many of them their work became agateway to provide some human context to a life that was anything but
straightforward. Tales of pain, loss, anger and hurt revealed why these men
found art not just a release but a way to reframe their lives, replacing bad
memories with good ones, insensitivity with reflection, trauma withhumanity…the art produced somehow became a three-dimensional
representation of the therapeutic process which for some was as painful as it
was visually invigorating (Billy)

Aesthetic quality and cultural value
Attendees commented upon the aesthetic quality and cultural value of the artwork. A
key point to emerge was the extent to which work would translate and have an
impact upon wider audiences outside of the context of the exhibition.
Pieces that stood out were the precision and mastery of the wood crafted
work, contrasted with some reflective pieces emerging from the prison
experience itself, which were all deeply moving. Those reflective pieces
challenged preconceptions about what prison artists think and feel. (Billy)
I think there’s a need to be really careful that the messages in the men’s
artwork don’t get lost on the outside. I’ve seen plenty of times when offender
artwork goes into competitions and the ones that win the prizes are the ones
that are ‘pretty’, popular and more pleasing to the eye – it’s too often a case ofaesthetics over meaning. Some of the work I saw at the exhibition was loadedwith significance and so important for encouraging critical debate, but I fear it
might be just skimmed over because it’s not fashionable, trendy or it wouldn’t
look good on the wall of some office or organisation. (Jenna)
Enhanced awareness of HMP Grendon
A further theme to emerge from our analysis was the considerable extent to which
attending the exhibition generated increased awareness of HMP Grendon
specifically and the concept of the therapeutic community in general. Attending theexhibition clearly led to enhanced knowledge of Grendon, even amongst those who
already had some insights into the institution. It was particularly evident that theartistic medium was an effective way of not only introducing people to the philosophyof Grendon but also beginning a conversation about how this philosophy might
benefit other parts of the prison estate.

20

There was one piece in particular that revealed a prison therapy group in full
flow, which comprised of small figurines all positioned to indicate the complex
nature of the therapeutic community operating in Grendon. I asked a few
questions about the piece and despite knowing a bit about how Grendon
works, those conversations really did help me make more sense of it. (Sarah)
It seemed to me to have a secondary effect of promoting the work of theprison. During the event a ‘road show’ of visiting staff from other prisons cameto the exhibition. The ‘road show’ seemed to be a way of informing staff atother prisons how HMP Grendon operates. The residency therefore clearlycan be used to inform a variety of audiences about what HMP Grendon does
and what it can offer. (Damien)
I had no idea about Grendon before. I had no idea what sort of place it was.
I’m more interested in it now. I got a lot of insight through talking about someof the artwork. So, the story behind the paper fireplace – the guy said he had
put it in the community room and one of the staff said it should be removed
because it was a health and safety hazard. The prisoners liked it, they wanted
it there, said it made the room feel homely. Their lobbying carried it throughand it stayed there, it had meaning for them. There’s a sense in which theroom was their space, they had a stake in it, they could come together anddecide as a community – democracy behind prison walls – amazing! (Jenna)
It was clear that the work itself, the shifting personal narratives of the men,
combined with the safe space that is Grendon, revealed what could be, might
be or should be. (Billy)
The artwork was a reminder that the artists themselves are involved in a
powerful process of confronting their past traumas within a therapeuticcommunity, whilst at the same time, exploring their experiences through art.
(John)

Residency as collaborative and enabling
Attendees discussed the relationships between prison-based artists and those who
worked with them. The topic of exploitation came up but attendees were keen toemphasise that whilst this was a topic that was often in the background – there wasa danger in any project like this that prisoners were a vulnerable group of people andthere was the potential for them to be exploited for the purposes of creating art.
However, they felt that this residency was far from exploitative and emphasised thatthose who participated had clearly chosen to do so and were being enabled rather
than constrained. Furthermore, attendees with experience of working in therapeutic
settings emphasised the value of an artistic residency for the development ofhealthy, professional relationships. It was noted by one attendee that Clark had apositive relationship with the residents and had been accepted into the communities- particularly on one of the wings – which was not easy to accomplish given that21

many prisoners can be very suspicious of ‘outsiders’. At the same time, there was anawareness and an acknowledgement that Clark’s time at HMP Grendon would cometo an end and his departure would provide additional opportunities for learning anddevelopment about the changing nature of relationships and their endings. In
addition, the involvement of the residents in the curation and organisation of theevents also drew comment from the attendees. The spirit of collaboration amongst
the residents and with Clark were noted by many. For some, this challenged
expectations and preconceived ideas about prison-based artists as solitary andisolated. Attendees noted that the exhibition didn’t just demonstrate that an artist in
residence facilitates meaningful artwork but also has the capacity to have a positive
impact on the group of residents who are involved in it through the development of acommunity around a common skill and interest.
I was interested to discover that with the pinhole camera images, Edmund
had asked the prisoners to then add to the portraits themselves, creating theirown interpretations of the images he had produced. For me this raised theimportance of giving people a voice, an opportunity to respond, being active
rather than passive, being involved rather than having things done to them,which is probably what most people’s experience of prison are like outside
Grendon (Jane)I suppose I had this idea of how people would do art in prison. So, I had thisvision of prisoners sitting alone in their cells on their own, painting, drawing or
creating pieces from things they have at hand. Whilst people clearly do that,what I found out through going to the exhibition was that it also involves anawful lot more than that. They’d worked together – on pieces of artwork, onorganising the exhibition, they supported and encouraged each other, they
were a little community. (John)I think there’s a fair bit of suspicion when someone from the outside comes in.
There a distrust around ‘do-gooders’ who claim they’ve come in to ‘help’. It’s
clear that the prisoners I met at the exhibition did not feel that way at all about
Edmund. He’s build a good rapport with them by listening to them, sharing his
experiences as an artist and also creating his own work in there. (Chris)
From other exhibitions of prisoner’s work that I’ve been to, it’s often reallyobvious which prisons have an artist involved because there’s a bit of a family
resemblance in the work. I very often think that artistic egos have probably
overridden what they would have produced originally. But Edmund doesn’t
seem to be like that at all, all the pieces were really distinctive and unique –as the men who created them are all distinctive and unique. (Jenna)
It was really good to see the inmates so eager to sing the praises of theirfellow prisoners. One came over to me and said, “Have you seen my mate’s
sculpture over there?”. He wasn’t just proud of what he’d done but theachievements of others and I found that really heartening. I suppose there’s
22this view of offenders as self-centred, it’s all about them, but that wasn’t thecase last week at all. (Chris)
In my early years as an artist working in prisons I experienced moments
where the sharing of the prisoners’ work became voyeuristic and a spectacle,
which had a really negative impact. How times have changed, there’s not ahint of that here. Also, photography in prisons is so contentious - how might
victims viewing these images feel? At a time when access to mobile phones injail is widespread and they are used to bait and further victimise people it isquestionable how ethically viable taking a photograph can be. In saying that,
Edmund’s residency is founded on the principles of using a different lens inprisons to understand the complex nature of some of these issues. (Billy)
Some residents appeared to have taken on informal mentoring roles, helping
others to build skills and confidence – this was talked about on a number ofoccasions. (Research Team Notes)
Three residents had collaborated using different art forms. One played theguitar whilst the other read out a poem that a fellow resident had written.
(Research Team Notes)

Prison artists beyond the residency
Attendees were keen to explore the ‘What next?’ question with the research teamand each other. It was noted that men who had exhibited work at the exhibition had
considerable talent and passion, which should be nurtured beyond their time at HMP
Grendon, whether that be in other prisons or in the community. Attendees noted theimportance of a good probation officer in developing and continuing art beyond theprison gates. However, it was also emphasised that the current punitive ethos of thecriminal justice system presented a key structural barrier to enabling this. It wasnoted that receptivity towards arts-based projects within the Ministry of Justice and
HM Prison and Probation Service had always been lukewarm at best but wasparticularly challenging in the current context. Attendees noted that those who saw
the value of the arts in criminal justice were in the minority and their views were often
misinterpreted and labelled as those of liberal apologists who were excusing what
offenders had done. This was a frustration expressed by many attendees who felt
like they were up against strongly held beliefs and stubborn stereotypes of prisoners
that were reinforced by some sections of the media.
You can see what creating has done for some of these men, and whether
they want to pursue a career in the arts of whether they just want to do it
privately after prison, probation officers made a huge difference. Their role isso key in either encouraging or completely disillusioning someone who ispassionate about art. A lot of people come away from long sentences with nosupport network whatsoever so the probation officer is really crucial. (Jane)23

We can all see how valuable this residency is for this prison, for the men, forrehabilitation, for society, for the arts. But we know this field, we don’t needconvincing. How do we tackle the stubborn, punitive approach that treatsthese men as numbers and figures rather than individuals who can make apositive contribution to society? That requires a change in ideology, a change
in values in the criminal justice system and that starts with the tone at the top.
You need Ministers behind the arts. For that you need the voting publicbehind it and that’s a tough nut to crack. (Sonia)
Prisoners are hidden, they’re invisible, their voices are rarely heard. Thatmakes it so much easier for people to make assumptions about them and fallin with the Daily Mail brigade, “lock them up and throw away the key”. If thisresidency is to actually stimulate some debate, it’s so important that this work
is so visible that people can’t avoid talking about it. (Jenna)
It needs young people behind it too, we need to think about the future of ourcriminal justice system and realise that whilst we might not have a lot of joy
convincing some of the current decision-makers, we can influence the future
ones. We need to play the long-game. (Chris)
The public tends to have a view of prisons as either holiday camps or miniconcentration camps. It seemed to me that if we could give them images of
the reality of prison that serves better public understanding of imprisonment.
Prison reform is not overnight changing the public’s attitudes towards prisonsand prisoners. Its small steps and I just feel that this kind of initiative seems to
me to offer the best chance of those small steps being taken and being long
lasting (John)
By the time the visit had concluded I was thinking about what would happen
next with this, especially given the deficiencies in the wider criminal justicesystem. How do we reincorporate these men back into society? To what
extent can people value them as artists rather than offenders? The current
climate is so unforgiving. (Billy)
Edmund’s calibre as an artist is hugely important in generating impact fromthis residency. He has the capacity to engage with a much broader audience.
It’s important that this opportunity is maximised because what’s been createdin and around this residency is really powerful stuff. (Damien)
Summary
The observations and interviews conducted with those who attended the Grendon
Exhibitions revealed many interesting insights into the extent to which the residency
has developed critical discussion of around prison, rehabilitation and criminality.
Whilst the audience was limited in relation to numbers and socio-demographic
diversity – there were several ways in which these exhibitions made an impact.
Firstly, the audience - most of whom had worked in or around arts and cultural24

sphere – considered the exhibitions professionally presented events showcasing
work by accomplished artists who were serious and committed about their artwork.
This was important in ensuring a focus upon the artwork in terms of its meaning andsignificance in relation to debates around prisons, rehabilitation and criminality rather
than a spectacle around the artists and what they had done in the past. The
organisational skills of those who contributed to the curation and running of theexhibition and the legacy of these two exhibitions holds considerable potential for
future events of this nature. Whilst some of the attendees did have preconceived
ideas about prison art in terms of form and practice, these beliefs were revealed,
critiqued and dispelled by these exhibitions. The exhibitions also enabled a greaterappreciation of the strengths and needs of prison-based artists.
The primacy of the artwork was a prominent theme in our analysis – attendees wereinterested in the residents as artists rather than offenders. Linked to this, it wasobserved that the residency had facilitated a range of positive outcomes associatedwith desistance from crime. This included the trying on of a new identity (i.e. ‘theartist’), peer support and collaboration, professional relationships and enhanced
opportunities for interacting with audiences from different walks of life. These
outcomes are closely aligned with key protective factors identified in the desistanceliterature – notably hope and motivation (Bottoms and Shapland, 2010; Burnett andMaruna, 2004; Le Bel, Burnett, Maruna and Bushway, 2008), having something togive to others (Bottoms and Shapland, 2010; Burnett and Maruna, 2006; Maruna,2001), having a place within a social group (Farrall, 2004), not having a criminal
identity (Chiricos, Barrick and Bales, 2007) and being believed in (McNeill, Batchelor,
Burnett and Knox 2005; Rex, 1999).
Whilst there was already an awareness of some of key challenges and barriers
facing arts in prisons, the exhibition enabled attendees to crystallize these issues
and prompted thinking and suggestions about ways forward for arts in the criminal
justice. Our findings highlight that if art is to be a powerful catalyst for critical
discussion around prison, rehabilitation and criminality, the artwork cannot bepresented in isolation from the journey that led to its creation. The stories of theartists and the narratives that accompanied their artwork were crucial in prompting
the attendees to reflect upon and critically consider the current state of criminal
justice. This suggests that where possible and appropriate, spoken narratives or
written accounts should accompany artwork created by prison-based artists if thework is to stimulate debate. For mainstream audiences, this work will not ‘speak for
itself’. In addition, here is the danger that ‘aesthetics over meaning’ will further limit
the contribution of prisoners to this debate. Without this context, we would argue thatthe voices of the artists are not heard. As noted previously in this report, such silence
would serve to further reinforce the othering of prisoners – if they cannot be seen
they are easier to demonise and exclude (Cheliotis, 2010).
The philosophy of HMP Grendon - as revealed via the artwork - was important inprompting reflection and critical consideration of contemporary criminal justice. Our
25

findings suggest that this institution should be central to critical discussion of prisons,rehabilitation and criminality because of its aspirational nature in offering glimpses ofwhat prisons could, should or would be. HMP Grendon offers a tangible example ofan environment in which the arts can both play a role in the process of change andact as a means for dissemination for the promotion of alternative and complementary
approaches to rehabilitation – notably the Good Lives Model. The way in which theresidency has worked with residents and facilitated them working with each otherembodies the “communalism” principle of the democratic therapeutic community(Rapoport, 1960). The residency is not something that has been done to them. It hasenabled a spirit of collaboration, the building of a group around a common interest
and a sense of belonging to an artistic community. We believe that this is an
important learning point for future initiatives like this one. The residency highlights
the fact that prisoners are key stakeholders and as such, emphasises the importanceof including them in critical debates about criminal justice.
The Grendon Exhibitions stimulated debate amongst attendees about the legacy of
the residency. Several observations and suggestions as to how the impact ofresidency could be maximized were made. It was noted that the outputs andoutcomes of the residency should be shared with the National Probation Service andCommunity Rehabilitation Companies given the significance of probation officers inenabling prison-based artists beyond prison gates. In addition, the importance ofcommunicating the messages from the residency to a wider public audience beyond
the arts and cultural sphere was taken to be of crucial importance. As such,attendees felt that there should be a considerable effort to ensure that the residency
was publicised in the mainstream media. In addition, a further key audience wereidentified as young people – particularly the future decision-makers and leaders
within the criminal justice system. Attendees felt that if attitudes, values and beliefs
about prisons, rehabilitation and criminality were to be challenged, the residency was
one important step in achieving this cultural change. However, it was felt that thiswould be slow, incremental and would require a sustained effort consisting of
projects like the residency over a long period of time.

26

Reponses to In Place of Hate
The sources we drew upon to gauge the nature of responses to the In Place of Hate
exhibition were published reviews of the exhibition and visitor feedback andreflections. Visitor feedback and reflections included posts on social media in which
the exhibition or the gallery were included as a hashtag or location.

Published reviews
The following reviews of In Place of Hate were flagged up by our online searchalerts:Bankes, A. (2018). Why we need to free art by prisoners from behind bars,
Apollo: The international art magazine, 8th January. Available at:https://www.apollo-magazine.com/why-we-need-to-free-art-byprisoners-from-behind-bars/
Bidder, J. (2017). REVIEW: Edmund Clark’s ‘In Place of Hate’, Arts Brum, 9th
December. Available at: https://artsbrum.com/edmund-clarks-placehate-exploration-invisible/
Green, M. (2017). In Place of Hate: Edmund Clark’s new work from Grendon
Prison,FTMagazine,
2nd
December.
Availableat:https://www.ft.com/content/26c74b6a-d49e-11e7-8c9a-d9c0a5c8d5c9Millington, R. (2017). Edmund Clark: In Place of Hate at Ikon Gallery,
Grapevine
Birmingham,
13th
December.
Availableat:
http://www.grapevinebirmingham.com/edmund-clark-in-place-of-hateat-ikon-gallery/Montrone, D. (2017). Edmund Clark’s immersive study of prison life goes onshow at the Ikon Gallery, British Journal of Photography, 1st December.
Available at: http://www.bjp-online.com/2017/12/clark-shadow/
Webb, H. (2017). Life & Art from HMP Grendon: Edmund Clark at Ikon Gallery
Birmingham, Blouin Art Info, 1st December. Available at:
http://www.blouinartinfo.com/news/story/2683083/life-art-from-hmpgrendon-edmund-clark-at-ikon-gallery

Having conducted a qualitative thematic analysis of the reviews – which included
consideration of the use of images within them - several key themes andperspectives were identified. These findings and how they relate to the evaluationquestion, “To what extent has the residency contributed to the development of critical
discussion around prison, rehabilitation and criminality?” are presented below.

27

Images used in the reviews
All six of the reviews included images from In Place of Hate. The image that wasused most frequently was one of the pinhole camera pieces, the same image that
had been used in the promotional materials for the exhibition (see Figure 1). This
image was used in all six of the reviews. Images of the pressed flowers in the cellsized light box - from 1.98m2 - (Figure 2) were used in four of the reviews (Bidder,
2017; Green, 2017; Millington, 2017; Montrone; 2017). Images of the exterior of theprison’s buildings (see Figure 3) appeared in three of the reviews (Montrone, 2017;
Green, 2017; Bidder, 2017). The following images appeared in only one of thereviews: resident’s creative responses to pinhole camera image – Pinhole Image
Interventions - (Figure 4) (Green, 2017); stills of the prison corridors from the video
installation Vanishing Point (Figure 5) (Green, 2017); image of community room
(Figure 6) (Green, 2017). The review featuring the most images from the exhibition –twelve - was Green (2017). Millington (2017) and Montrone (2017) and Bidder (2017)
featured three, whilst Bankes (2018), Webb (2017) included one. Reflecting upon
the use of images, it was not surprising that the images in Figures 1-3 featured in thereviews because these images had been included in promotional materials about theexhibition – for example within the flyer or on Ikon’s website. The choice of images
beyond this was interesting – and whilst this was a very small sample, we reflected
upon whether these choices might be indicative of the affect that these particular
images had had upon the authors of the reviews. This was something that we
considered as we explored the themes that emerged from written texts.

28

Figure 1. Pinhole Image

Figure 3. Prison exterior

Figure 2. Images from 1.98m2

Figure 4. Pinhole Image Interventions

Figure 5. Prison interior: stills from Vanishing
Point

Figure 6. Prison interior: community room29

Calibre and authority of artist
The articles all noted the calibre of Edmund Clark as an artist with considerable
experience of working in and around carceral settings. Throughout the articles, theauthors conveyed that In Place of Hate does not stand in isolation and was part of an
ongoing interest and curiosity on the part of the artist into this topic area. The effectis that the articles present the exhibition as a chapter in a book about prisons,rehabilitation and criminality and that that book is one written by an authority on the
topic. As such, the work is understood as holding considerable reach andsignificance for these debates from the outset.
The artist, known to have worked and produced works from Guantanamo Bay
the CIA secret prison programme, and with terrorism suspects in England, inthe past has a deeper and well-shaped engagement with issues ofcensorship, security and control (Welsh, 2017).
Clark, winner of BJP’s International Photography Award in 2009 and many
more since, has long been interested in issue surrounding confinement andincarceration, having previously made work on Guantanamo, Bagram Air
Base, control-order houses and elderly lifers at HMP Kingston. (Montrose,
2017)

HMP Grendon
The articles noted the uniqueness of HMP Grendon as the only prison to operate
wholly as a therapeutic community in the English and Welsh prison estate andindeed in Europe. Some went further in describing elements of the prison regime interms of psychotherapy and the principles of a therapeutic community. HMP
Grendon was often compared to other prisons, with some articles including statistics
and quotes from prison experts. In such cases, HMP Grendon was presented as the
exception to the rule, a prison that succeeded despite the current political, economic
and social climate rather than because of it. As such, it could be argued that thesereview articles have the potential to generate awareness and knowledge of HMP
Grendon, particularly in terms of what prisons should or could be.
… the internal democracy of Grendon, designed to foster personal and mutual
responsibility, interests policymakers. Recent moves in the prison system as awhole — depriving prisoners of the right to smoke, for example — tend to bein the other direction, infantilising adults and making them even less able tothrive on release. (Green, 2017)
Frances Crook, the veteran penal reformer and chief executive of the Howard
League, describes it as “the only successful prison in the country” …Pamela
Dow, a former senior Whitehall strategist on prison policy and a rehabilitation
expert, says Grendon is…”an island” surrounded by an otherwise creaking
30system…According to Crook, Grendon is successful because it does “theexact opposite of all the others” (Green, 2017).
Established in 1962, HMP Grendon requires inmates to accept responsibility
for their offence. Within the prison environment they can exercise a degree ofcontrol over the day-to-day running of their lives, making a commitment tointensive group therapy and democratic decision-making, whilst holding eachother to account. Evidence shows that Grendon has delivered lower levels ofviolence in prison and reduced instances of re-offence after release(Millington, 2017).

AffectIn writing about In Place of Hate, writers referred to their thoughts and feelings about
their experiences. In terms of the affect that their encounters with the images
engendered (see Young, 2005, 2008, 2010, 2014), words such as ‘eerie’,‘frightening’ and ‘disconcerting’ were used – particularly with reference to the pinhole
images. It could be argued that such reactions draw on stereotypes of violent
offenders evident in mainstream media and popular discussion. However, thesewords were often accompanied by expressions of empathy and consideration of how
the images created a sense of proximity to prisoners – particularly when a resident’s
words formed part of the images. As such, in relation to affect, the overriding
reaction throughout the articles appeared to be a sense of discomfort – that theexhibition made them feel uncomfortable. Those writing about their experiences ofthe exhibition found the work immersive and challenging – perhaps indicative of theartwork’s capacity to articulate and reveal the problems and difficulties that exist
within the contemporary criminal justice system.
In the first room is an immersive installation consisting of a light box the sizeof a cell: it makes you realise the issue of overcrowding and the lack of spacein which prisoners live. It really is claustrophobic (Millington, 2017, emphasis
added)In the Ikon’s Resources Room, we are met by a series of ‘self-portraits’ thatremain eerily unidentifiable and almost shadow like in their portrayals of their
human subjects (Bidder, 2017)
Visitors can also sit on the same chairs which appear in the footage, joining
the circle of offenders’ group therapy (Millington, 2017).
“I hate myself because I am a murderer… You can’t save me… We are afaceless, forgotten part of society…” These are just some of the intimate,often devastating thoughts of the inmates at HMP Grendon, a category B
men’s facility in Buckinghamshire… (Montrone, 2017, emphasis added)(re pinhole camera images) …the blurred black and white images are
disconcerting, and some are quite frightening …about a dozen (residents)
31

have made their own artwork from prints of the photographs…Their verbal
reactions are extraordinary and painful to read: “No wonder people look at me
weird – is this how they see me??!! I look like the White Orc from The Hobbit
or some sort of f***in’ phantom” (Green, 2017, emphasis added).

Beyond ‘prisoners’
It was clear within the articles analysed that the images encountered in the exhibition
had been influential in shaping the way that visitors were looking at residents of HMP
Grendon. They were seeing them as more than ‘prisoners’. These questions ofidentity also encompassed a humanising of ‘the prisoner’ in the eyes of the writers,
who drew upon terms like ‘peopled’, ‘delicate’, ‘vulnerable’ and ‘human’ in describing
and exploring the themes that the exhibition presented. These words are not often
associated with the stigmatizing discourses around prisoners, criminals andoffenders.
…the Grendon work is peopled by the shadowy photographs that represent
the prisoners and a few of the staff. (Green, 2017, emphasis added)(re the bedsheets piece) The identity of the prisoners has been protected, andso they are marked by a blurred quality, creating questions about self. They
can also appear intimidating and, at times, quite frightening. But thebedsheets, which move as viewers pass by, also appear delicate (Millington,
2017, emphasis added).
(re residents’ responses to pinhole images) Another commented: “I amterrified to take the mask off and feel vulnerable.” (Montrone, 2017, emphasis
added).
On the surface of the light box are flowers and plants picked by Clark and theprisoners from Grendon’s gardens; they appear fragile and you can see every
vein running through them. (Millington, 2017, emphasis added)(re The Oresteia) In this piece, the spectator becomes a fly on the wall withina group therapy session…simultaneously personal and impersonal, giving thespectator a rare insight of watching a group of faceless, nameless but
undoubtedly human inmates attempt to come to terms with the pain sufferingand anguish they have both inflicted and suffered themselves (Bidder, 2017,
emphasis in original)

Contribution to contemporary debates
The articles suggested that In Place of Hate highlighted many contemporary issues
within the prison system. There were several reflective and critical comments about
the nature of criminal justice in the Twenty-First century, which appear to have been
prompted by attending the exhibition. In addition, the reviews were often
32contextualised in relation to specific challenges – for example issues withovercrowding, violence, drug use, suicides and self-harm. As such, the articles
highlighted the capacity of the exhibition to articulate contemporary fears andanxieties around imprisonment within the bigger picture of penal punitivism and thecarceral state. In so doing, the articles suggested that the exhibition was contributing
towards debate about prison, rehabilitation and criminality in offering visual
representations of a largely hidden and denied group of people that audiences could
then further explore themselves. The reviews did not consider the exhibition to be“political” per se in that it did not take a position or judgement about what should bedone but they did acknowledge that it raised political questions i.e. questions of
power, control and authority.
Will they, I wonder, want to see such darkness made visible? Because thetheme of the shadow, the mysterious silhouettes on a prison wall, has anotherwider meaning — the suppressed societal dysfunction that we would rather
ignore, particularly the addiction, the abuse, the violence and mental-healthissues that afflict so many criminals and so many others outside the prison
walls too. (Green, 2017)(re The Oresteia) Lines about ‘honour killings’ and ‘kingly responsibility’resonate with gang violence, sexual assault and the pressures of extreme
masculinity (Millington, 2017)
The word “political” is hard to avoid in relation to Clark’s affinity for making art
about incarceration, criminal justice and security enforcement (Green, 2017).
…how we treat our prisoners offers a profound, and valuable, insight into oursociety: they hold up a mirror, and challenge the humanity of us all (Bankes,
2018)
The thematic representations of how prisons and the criminal justice system
are perceived and discussed by the public, politicians and media in Britain
today is ably captured in his seminal works (Welsh, 2017).
What remains truly fascinating about In Place of Hate is how it picks out thepersonalities that operate within this faceless society that is so separate fromthat which lies outside the prison grounds…He unlocks the cells and crossexamines numerous of bricks within the same wall and, if anything, therestricted scope of the project plays to Clark’s advantage. In a sense, we seemore through the keyhole than we do through the open door as we piece
together the fragments of personal opinions, experiences and stories that are
offered by the anonymous members of the society that lies on the other sideof the barbed wire fence. (Bidder, 2017)33

Summary
Many interesting themes emerged from our analysis of the published reviews of In
Place of Hate. Firstly, Clark’s calibre as an artist experience in working in carceralsettings was considered important in ensuring that this exhibition informed a ‘bigger
picture’ of debate around incarceration. Clark’s previous works were referred tothroughout the reviews and as such, they served to highlight the ongoing nature of
the issues the exhibition raised. In Place of Hate was therefore not consideredsimply as a stand-alone exhibition or a snapshot of prison life but part of an unfolding
and ongoing revelation of incarceration within a broader economic, political andsocial context. Within the reviews there was also an appreciation and awareness of
the uniqueness of HMP Grendon given that this institution was the focus of the work.
However, this focus upon HMP Grendon did not minimise its relevance to thebroader context. The reviews frequently linked the insights developed from seeing In
Place of Hate to issues and debates around imprisonment in general, criticallycommenting upon various challenges and problems with the system. If anything, inseeing HMP Grendon as the exception and the success story of the English andWelsh prison estate served to further magnify the nature and extent of deficiencies
and problems within the other institutions and prompt critical comment about thesame. Exploring the affect that encounters with the image engendered, theprominent feelings expressed within the published reviews were feelings ofawkwardness and discomfort as writers struggled with reconciling existing myths andstereotypes about prisoners with experiencing empathy for prisoners, recognition of
their humanity and feelings of proximity to their experiences. Linked to this,questions of identity also emerged as prominent themes within the published reviews
as writers reflected not on what those depicted in the exhibition had done, but who
they were, how they felt and the therapeutic process they were engaged in. The
pinhole camera images were particularly prominent in considerations of identity.
Indeed, such images were incorporated into all the published reviews as the mostenduring of the images in terms of the affect upon this audience. Considering thesepoints, it could be argued that amongst this audience at least, the residency has
made an important contribution to debate in prompting critical reflection upon values,
attitudes and beliefs about prison, rehabilitation and criminality.

Social media
Social media was considered an important potential site of debate about theresidency and the In Place of Hate exhibition. Through the duration of the residency
and the first six weeks of the exhibition, the Research Team monitored discussion inthese forums. As noted in the methods section of this report, this encompassed
Twitter, Facebook and Instagram. Until the opening of In Place of Hate in December
2017, we did not receive any alerts about content relating to the residency appearing
on any of the above social media platforms. However, when the exhibition opened,
we did begin to receive alerts for some of the platforms.
34

Ikon’s Facebook page featured posts about In Place of Hate, for example information
about the exhibition. These posts received many Facebook ‘likes’ but did not receive
any comments. As such, the Ikon Facebook page did not emerge as a space fordebate around prison, rehabilitation and criminality. Turning to consider Twitter, wecollected 107 tweets during the first six weeks of the exhibition. The tweets largely
consisted of promotional tweets sent from Ikon’s Twitter account, retweets of thesame, or links to published reviews generated by the publications noted above in the
Published reviews section. Whilst there were tweets sent by people who had
attended the exhibition expressing positive sentiments, these tweets did not
generate further debate about the residency or the issues that it raised. As such,
Twitter was not a space in which any detailed reflection or discussion about prison,rehabilitation or criminality emerged.
By far the most active social media platform in relation to In Place of Hate was
Instagram, an image-based photo-sharing application that allows users to sharepictures and videos publicly. During the first six weeks of the exhibition, our searches
discovered 134 Instagram posts relating to the exhibition, all of which included
pictures of images from the exhibition. Regarding the nature of the images that werebeing shared, over two-thirds of (69%, n=93) Instagram posts during this period were
pictures of one particular part of the exhibition – 1.98m2 - the pressed flowers on thecell-sized light box. Just under one quarter (24%, n=32) were of the projections of
pinhole camera and flower images onto bedsheets. Other categories – notably
photographs of multiple images, photographs of the therapy room installation andphotographs of the residents’ responses to the pinhole images - each constituted 5%
or less of the Instagram posts relating to the exhibition. We found it interesting thatthe largest category of Instagram posts related to 1.98m2, images that were notdirect representations of Grendon residents to the same extent that the pinhole
images were. The very low number of posts depicting Clark’s representations of theprison environment – for example the photographs of the prison buildings and thevideo installation Vanishing Point - was also curious. Whilst these images wereclearly a key part of Clark’s work, when we examine what visitors are choosing toshare from the exhibition on Instagram, these images are largely excluded.
Therefore, it could be argued that despite the importance of these images instimulating conversation about prison, rehabilitation and criminality through theirfunction in revealing unseen elements of prison life, visitors to the exhibition did not
feel as strongly about sharing them as they did other images that included more
subtle and allegorical references to incarceration.
Considering the text that accompanied the posts, the vast majority (n=121, 90%)
consisted simply of hashtags relating to the exhibition e.g. #EdmundClark#InPlaceofHate #Ikon Gallery. However, 1 in 10 (n=13, 10%) did include responses,
thoughts and reflections about the experience of visiting the exhibition (see Figure 7
for examples). It was clear that for these individuals at least, In Place of Hate had
caused them to consider wider themes and issues around incarceration for example
35

identity, change and invisibility – as well as learning about the uniqueness of HMP
Grendon.

Table 1. Categories of image shared on Instagram about the exhibition

Part of exhibition

Number of Instagram % of all Instagram posts of
posts
the exhibition

1.98m2

93

69%

Projections onto bedsheets

32

24%

Multiple images

5

4%

Therapy room

3

2%

Pinhole Image Interventions

1

<1%

TOTAL

134

100

Figure 7. Instagram post examples

36

37

38

Conclusions
In considering our findings in relation to the first key question of the evaluation – To
what extent has the residency contributed to the development of critical discussion
around prison, rehabilitation and criminality? - we believe that the residency has
contributed towards the development of critical discussion around prison,rehabilitation and criminality to some extent. We summarise our conclusions relating
to the Grendon Exhibitions and In Place of Hate below. It is important to note that ourconclusions regarding In Place of Hate should be considered indicative rather than
final - our data was collected during the first six weeks of the exhibition and theexhibition ran until March 2018, beyond the submission date of this report.
The impact of the Grendon Exhibitions in relation to creating debate around prison,rehabilitation and criminality was limited in terms of reach given the fixed restrictions
on the number of individuals who were able to visit the exhibitions and the relativelack of socio-demographic diversity amongst the attendees. However, it could beargued the significance of the impact was more considerable. The Grendon
Exhibitions helped reinforce the importance of a focus upon who prisoners are rather
than what they have done. They helped dispel myths about the scope and processesof prison art. They enabled an appreciation of the strengths and needs of prisonbased artists. They helped visitors see clear links between arts in prison andoutcomes associated with desistance from crime. The exhibition emphasised theimportance of the prisoner voice alongside the artwork they create in ensuring that
prison art is appreciated for its cultural value as well as its aesthetic quality and thatthe othering of prisoners is not reinforced in the dissemination of their artwork.
Knowledge and awareness of the unique nature of HMP Grendon was enhanced
through the exhibition and the importance of working with prisoners in creating
artwork rather than art initiatives being something done to them was emphasised.
The Grendon Exhibitions also stimulated debate and suggestions about what should
happen next in terms of ensuring a positive legacy for Clark’s residency andensuring its learning points and messages were disseminated to a wider audiencebeyond the arts and cultural sphere.
With regards to In Place of Hate, we offer several provisional observations about thenature, reach and significance of its impact upon debate around prison, rehabilitationand criminality. Firstly, we noted that reviews were published in a range of spacesthat would be accessed by a wide range of individuals – from broadsheet
newspapers with a large general readership (e.g. Financial Times Magazine - Green,2017) to local arts blogs for a more specialist audience (e.g. ArtsBrum - Bidder,2017). We did feel however that had other types of publication also covered theexhibition, this may have enhanced awareness and established pathways for impact
amongst a more diverse audience. Examples include newspapers with a broader
readership encompassing wider socio-economic groups. Despite this, our analysis of
published reviews revealed that In Place of Hate was clearly seen as part of an
ongoing revelation of key issues and challenges around incarceration. The reviews
39further enhanced awareness and knowledge of HMP Grendon and the contrasts
made with the rest of the prison system served to further magnify the challenges
within the latter and prompt critical debate about the same. The exhibition generated
feelings of discomfort and awkwardness in the reviewers – whose preconceived
ideas about prison, rehabilitation and criminality had been challenged by the images.
The use of images in the published reviews was consistent with these observations –the pinhole camera pieces embodying questions of identity, change and uncertainty were particularly prominent, featuring in all of the review articles. Questions ofidentity came to the fore and the focus of these articles was much more firmly upon
who prisoners were now rather than what they had done in the past.
The impact of In Place of Hate upon debates about prison, rehabilitation andcriminality in social media spaces was limited. These debates were absent from two
key platforms – Facebook and Twitter. Instagram emerged as a more significant site
for the sharing of photographs of the exhibition. However, posts including thoughts
and reflections upon the exhibition represented a minority of the posts we collected
and there appeared to be a tendency amongst those who shared images of theexhibition to focus upon those pieces that had more subtle references toincarceration – notably the pressed flowers – than those featuring starker and more
direct representations of prison life – notably the photographs of the prison
environment. On one hand, it could be argued that this represents an ongoingothering of prisoners. If they and their environments remain unseen – they are easier
to demonise and exclude (Cheliotis, 2010). However, one the other hand, it could beargued that the pressed flowers represent counter images and counter narratives(Brown, 2014; Schept, 2015), distinct and different from media and official visual
representations of prison and prisoners and as such, hold potential to challenge
official discourses.
Within the next section of this report, we consider the second key question of theevaluation, To what extent has the residency had an impact upon the residents of
HMP Grendon in their journeys away from offending?

40

Question 2. To what extent has the residency had an impact upon theresidents of HMP Grendon in their journeys away from offending?
The findings reported in this section draw upon our analysis of the interviews
conducted with residents and staff at HMP Grendon about their experiences of theartist in residence. In addition, this section draws upon an analysis of letters received
from former residents who were invited to share their thoughts about the residencywith the Research Team and those who provided feedback on comments sheets.
Within this section of the report we outline the key themes that emerged from ouranalysis of our research encounters with residents. References to notes taken during
the interviews and direct quotes from the written material are included are included
for illustrative purposes – the nature of the source is noted at the end of eachreference and quote. This section concludes with a summary of our findings inrelation to the question, “To what extent has the residency had an impact upon theresidents of HMP Grendon in their journeys away from offending?”.

Access to arts materials and resources
One of the clearest themes to emerge from our discussions and interactions withresidents was the fact that the artist in residence had ensured access to arts
materials that were not previously available - or which would have been difficult toaccess without this support. However, it was noted that materials were not simply‘handed over’ unconditionally. There was an expectation that if Clark provided
someone with materials, they would make use of these materials constructively andwere responsible and accountable for them. As such, whilst access to materials wasbeneficial in enabling residents to engage in their artistic practices, the way in which
this was operated was very much in the therapeutic community spirit of Grendon.
This is a living learning situation (Kennard, 1998) in which all elements of prison life,
even those which might be considered by people on the outside as minor, like theprovision of arts materials – are “an integral component of the therapeutic
environment” (Brookes, 2010b, p. 103).
I don’t know what I would have done if we didn’t have an artist in residence, I
would never have been able to afford some of the stuff (Letter - Jason)
Paul made the point that without the residency, he would not have been able
to fund his art (Interview notes – Paul)
Kevin had observed those involved in the residency getting access to newmaterials. He said he was pleased to see that there was some accountability
around this though – Edmund wanted to see what people had produced withthe materials, he didn’t just supply them and move on. Kevin said thisencouraged people to make use of the materials they had. (Interview notes –Kevin)
41

The process of getting access to the arts materials – they may want a
particular thing but they know they have to wait for it and they realise thathaving patience is important (Staff Interview – Jackie)

Rediscovery / development / diversification of technical abilities
Residents noted that the presence of an artist in residence had a positive impact notjust on their capacity to continue to practice their artwork through the provision ofmaterials but also in terms of how the residency created a space in which torediscover old artistic endeavours and develop and diversify existing practices. The
confidence, positivity and future-focus evident amongst these residents links clearly
to desistance factors around hope and motivation (Le Bel et al, 2008). In addition,these activities also embody elements of the strengths-based Good Lives Model(GLM) approach to rehabilitation in providing pro-social pathways to the achievementof goals or ‘key primary goods’ such as knowledge, creativity and excellence (Wardand Maruna, 2007).
Edmund knew I was seriously interested in art and he organised for me to get
art materials in a regular basis, which helped me so much. For the first time I
felt free to paint whatever I wanted and because of that freedom I painted
portraits, which remain my best works and I went on to win some awards.
(Letter, Danny)This has opened my eyes to all the things I can do. I have found so manydifferent things that I am good at. (Letter, Jason)
As a child I was fascinated with Lego and Meccano sets and would spend
hours upon hours building things. This world became short lived when I
suffered immense abuse inside and outside the family setting before
eventually being taken away from home and placed into care…it hasreconnected me to my old Lego bricks and Meccano sets, which I now find in
my art work and projects I take on. (Letter, Jim)
Paul described how he had adapted his techniques during Edmund’s
residency, and had tried out things that had not occurred to him to do before.
Paul described how Edmund’s residency had helped him focus on the future
and the things that he would do to continue to work on with relation to his art.
He said that the residency had contributed to his longer-term thinking andplanning. (Interview notes – Paul)
Richard talked about a sculpture he had created and what various parts of it
represented. He explained that Edmund’s advice had encouraged him to thinkoutside of the box and develop his work in new ways through support,
challenge and constructive criticism. (Interview notes – Richard)

42

Expression and reality-confrontation
As noted in the About HMP Grendon section of this report, “reality confrontation” is
one of the key principles of the therapeutic community environment where
behaviours come under the scrutiny of others and thoughts and feelings areconfronted (Rapoport, 1960). The artwork created by residents during Clark’s
residency appeared to complement this element of the therapeutic community.
Opportunities to develop artistic practices have enhanced the range of methods andmeans through which residents could express themselves through art. As such, it
can be argued that the residency has further facilitated achievement of inner peaceand freedom from emotional turmoil and stress – a further ‘primary good’ identified in
the GLM approach to rehabilitation (Ward and Maruna, 2007). However, someemphasised that the artwork they engaged in around the artist in residence wasrefreshing because it sat outside of the formal psychotherapy and art therapy
sessions. As such, these residents considered it not part of the therapeutic process
but a relief or a break from it.
I painted a small black/red abstract which I put up in my room. I used thisimage to explain how I thought I made decisions, that I would have a chaotic
lifestyle and make chaotic decisions, the image itself was very chaotic. (Letter,
Steve)(Re response to pinhole camera image) I really enjoyed this part of the project
and was eager to receive my image. I decorated my image with white writing,all capitals, with very little punctuation to symbolise what I felt the image
portrayed – of a person who never stops, who goes on and on without athought for another. (Letter, Steve)
Carl stated that art was very important to him, he said, “It’s like being able towrite with paint”. He went on to say that this was important for many prisoners
given the low levels of literacy within the prison population. (Interview Notes,
Carl)
Daniel expressed the importance of art, explaining that it helped keep him
level, calm and enabled a channelling of frustration. (Interview notes - Daniel)Richard described the work he has done with Edmund as a ‘breath of fresh
air’ – explaining that it takes him away from the therapeutic elements ofGrendon, which can be very demanding and draining. (Interview notes –Richard)
Kevin said that residents who were involved in the residency had a glow about
them – “Ed has done a lot of work with the lads to give them a voice throughtheir art”. (Interview notes – Kevin).

43

The scheme helps motivate a different outlet for hurt, pain, sadness, guilt
through the medium of art, giving some of us a voice when we didn’t haveone. (Comments sheet – Nick).
Visible and invisible trauma - for a lot of the men here, their trauma wasinvisible when they were kids. The only way to communicate it was throughviolence. Trauma is seen here at Grendon and it can be transformed – a lot of
this can be linked to the work Edmund is doing. (Staff Interview – Helen).

Narrative Identities
In the About HMP Grendon section of this report, the importance of narrative identity
at Grendon was noted. This relates to how people tell stories about their lives andthe way in which they present themselves as characters in these stories (Adler et al,2008; Adshead, 2011; Lieblich et al, 2004). The spirit of Grendon encourages andfacilitates the challenging and reframing of narrative identity – residents ‘try on’
identities that aren’t premised on their status as a ‘prisoner’ or an ‘offender’ (Stevens,2013). The concept of the narrative identity was prominent in resident’s accounts of
their experiences during Edmund Clark’s residency. Residents described themselves
as artists, poets, “more than just an offender”. Getting involved with the artistic
residency further reinforced these new identities, created a space in which they
could be explored and contributed towards feelings of confidence. There are clear
associations between these findings and the importance of not having a criminal
identity – a core desistance factor (Chiricos et al, 2007; Maruna, 2001). In addition,
this identity reshaping that has occurred during the residency represents a pro-social
means of finding meaning or purpose in life and achieving autonomy and selfdirectedness – core primary goods within the GLM.
There was a critical awareness of the extent to which other people – notably the
public - would be able to overcome the persistent myths and stereotypes about
prisoners. Residents welcomed the Grendon Exhibitions as an opportunity to meet
new people and be seen and accepted artists but acknowledged that these eventsshould be open to a broader range of people. For some, art was an interest rather
than an identity, but it was nonetheless valuable and contributed to their sense of
self outside the offender identity. Having an artist in residence also served tolegitimise art as an activity that was valued and indeed permitted – which had notbeen the case in some other prisons.
As I began to do this (create artwork), I started working in therapy at value
and self-esteem, ensuring that I allow time in my life to do the things that I
enjoy and making sure that these things are not forgotten. I am much morethan just an offender. Without Ed I would not have been able to do this (Letter,
Steve)

44

The idea that the artist behind the work should be heard – if not visible – wasemphasised. The story that led to the work was important for people looking
at it. (Interview notes - Daniel)
Carl explained that most of the time, people beyond the prison walls do nothave the opportunity to see the artist behind the work. Carl found it difficult tosee how boundaries, stereotypes and labels could be overcome if the artist isinvisible. Carl was very enthusiastic about the Grendon Exhibition. On
broaching this topic with him, his demeanour shifted, he began to smile andwas visibly proud of his work and his role in organising it, “It was brilliant. The
people were seeing me as an artist not a killer”. (Interview notes – Carl)Paul had sent his artwork off to competitions, saying that Edmund’s
encouragement had been instrumental in this. He said that prior to working
with Edmund, he would have just rolled up his artwork and not done anythingwith it. (Interview notes – Paul)I have been involved in the sessions that Ed put on. Art helps me find otherthings to do with my life, my time. Being bored is a trigger for me. (Letter,
Jason)
When I first came to prison…I lived in an empty cell with no pictures, colours
or anything. I defaced a wall in my cell with a picture of a window gazing out
over fields, and then was moved cells! (Letter, Steve)
Richard described how he was looking forward to the Grendon Exhibition as
his work would be on display. He shared that this had boosted his confidence
and he was pleased that people were interested in his art. (Interview notes –Richard)Whilst Kevin had not been directly involved in creating artwork around theresidency, people on his wing had been. He said identity was important,explaining that being known as a poet or an artist instead of his offence hadboosted his fellow residents’ confidence. Those who were involved identified
with something new and Kevin saw the positive effects of this – people with asense of who they were, and a purpose in life. (Interview notes – Kevin)For a lot of the men, this is the first time that they’ve felt that what they’vedone is worthwhile. They might have been interested in art during theirchildhoods but have no memory of that so this was a chance to do and besomebody else. (Staff interview – Carol)
The men’s identity has been linked to their offence for a long time and they
feel everyone hates them outside but art gives them something else,
something outside of therapy but very much in the spirit of change. (Staff
Interview – Helen)

45

Sharing artistic work with others, building relationships
Some residents spoke of how their art was both a bridge for building relationships
with loved ones and a way of leaving a positive legacy for them, creating new andpositive memories and experiences. As such, for these residents, it can be argued
that the residency strengthened their capacities with regards to building stronger
relationships with friends and families – a recognised factor in helping individuals
desist from crime (Maruna, Le Bel and Lanier, 2003) and a core primary good within
the GLM(Ward and Maruna, 2007).
I get a lot of pleasure out of sharing the things I make with others. (Letter Jim)
I started to spend time in the evenings making cards, for family, for friends,
even for staff at times. (Letter - Steve)Paul spoke of his children being a driving force behind his inspiration to create
art, “at some point my artwork will go to them”. (Interview notes – Paul)As with other men here, I have difficulties dealing with emotions and a lack ofself confidence in social (and artistic) situations. Critical areas of rehabilitation
for me include getting in touch with emotion and broadening my selfconfidence. Support and encouragement from the residency has assisted mewith these therapeutic goals. (Comments sheet – Adam).

Communalism
The principle of communalism (Rapoport, 1960) is central to a therapeuticcommunity, as noted in the About HMP Grendon section of this report. Opportunities
to take on responsibilities relating to the therapeutic environment and the events that
happen within it were evident within the activities around the artist in residence. The
residents we spoke with who had been involved in the Grendon Exhibitions
expressed their pride and sense of achievement in assisting with these events.
Residents expressed their sense of pride at having contributed to the appearance ofthe environment through having their artwork put on display within the prison. Thisenhanced the sense in which they felt they had a stake in HMP Grendon as theirhome. This provides evidence of the residency facilitating the achievement of afurther core primary good – community (Ward and Maruna, 2007). Furthermore, theartwork the created added to the uniqueness of HMP Grendon – they expressed thatGrendon does not feel like any other prison but with the artwork, it looked less likeother prisons too. There was also a sense in which the residency had encouraged
staff and residents to come together around artistic endeavours and see each otheras artists.
I have toured all the communities and seen the art, pictures, sculptures thatare there is big part due to Ed and the Trust supplying the much-needed46

financial support. Without them the place would be just magnolia/grey and not
personalised at all. (Letter, Steve)
Daniel’s artwork was in the community room where the interview was held. He
was very confident in pointing it out and appeared very proud of it. (Interview
notes - Daniel)
Carl spoke enthusiastically about the Grendon Exhibition, which he had beenpart of organising alongside others. This event seems to have been very
important to him. (Interview notes – Carl)I don’t think I would be able to rebuild my self-esteem if I didn’t havesomething like art to be proud of and for people to be proud of me for it.
(Comments sheet – Nick)
I was talked into doing a pinhole camera image by one of the residents and I
really enjoyed it. The residents see another side to the officers when we talkabout art - one of them commented “Wow, you draw!”. (Staff Interview, Jane)
There was a real sense of pride on the wing (about the Grendon Exhibition)even among those who were quite isolated – they felt very much involved inthat. (Staff Interview – Helen)
Grendon is like a tapestry and the artist in residence is part of that, very
colourful and powerful. (Staff Interview – Jackie).

Exposure to new perspectives and views
Some residents felt that being able to discuss their work with Clark had created anawareness of different views and perspectives. They were able to see why someone
else would take a different position from them on a topic or a piece of artwork and assuch, the discussion groups enabled constructive conversations over opposing andconflicting views. Staff involved in the therapeutic process also commented upon theextent to which the residency had encouraged them to reflect upon their own
practice as therapists.
…the discussion groups I found fascinating, in some way Edmund was able togive me an empathic understanding of other people’s feelings on the subjects
we discussed and the material he was able to show us, from photos to shortclips of films on his laptop…The only thing I can say about the class itself, I
wish they could have been longer but all in all it was a brilliant experience andlong may it continue. (Letter, Jim)
Ed discussed this image (that Steve had created) with me and explained thateveryone does this in some way or form, that decision making as an idea isdifficult for all of us and that everyone makes the wrong decision at somepoint in their life. (Letter, Steve)47

Paul described Edmund’s artistic background and made the point that
although Edmund was not a painter like him, his photography had had an
impact on his own practice and had influenced some of his work. (Interview
notes – Paul)It has an impact on your work as a therapist and helps you to think outside ofyour world. There are lots of ways to reach these men. There is a tendency tothink “My way is the only way” and hold onto your modality protectively but
there are many ways in which people can be helped. (Staff interview – Helen)

Engagement in an artistic community
Residents explained that the presence of an artist in residence had brought a groupof them together in a new way and created a sense of community – a key primary
good (Ward and Maruna, 2007) - amongst those who were interested in the arts.
They worked with each other and with Edmund on pieces of artwork and onorganising the events around the residency – for example the Grendon Exhibitions.
They reported a sense of belonging and stated that they had enjoyed helping others
to develop their artwork. In this sense, the residency has further facilitateddesistance through enabling the residents in having something to give to others andhaving a place within a social group – recognised as important contributing factors indesisting from crime (Bottoms and Shapland, 2010; Burnett and Maruna, 2006).
The support that Edmund and his assistant provided with my artwork mademe feel part of a group and part of the work Edmund did as the artist in
residence. (Letter, Danny)
Daniel placed a lot of emphasis on the importance and impact of the
discussion group with Edmund. He explained that this was beneficial to thedevelopment of his artwork and building a sense of community among theartists on the wing. (Interview notes - Daniel)
Carl explained his involvement in the creation of the artwork in the community
room and how he had enjoyed working with others to create it, sharing his
knowledge and skills with them in an informal mentoring capacity. Carlacknowledged that many of his fellow residents had benefitted from Edmund’s
residency and stated that he would like to see the establishment of a prisonwide arts group. (Interview Notes – Carl)Paul had enjoyed the sessions and discussions with the group. Having said
this, he did think it would have been better if all the artists at Grendon could
have come together in a classroom rather than holding separate groups forseparate wings. He thought that this would have been beneficial as it would
have allowed a larger group of people to see the work and processes of theirpeers. (Interview notes – Paul)48

Because of his background in photography he would give me an insight into
exhibitions and galleries, I’d never really understood how that all worked until
Edmund took the time to explain it to me. (Letter, Danny)

Inspiration, accessibility and support without pressure
The way in which Clark had managed his artistic residency drew much praise fromthe residents and staff. They observed that there wasn’t any pressure to get
involved, that was a decision that was down to individual residents. Clark put on
regular sessions and if people wanted to come, they came. If they didn’t want to,there was no judgement or criticism. He was described as someone who opened
doors to opportunities without creating dependency. He was consideredapproachable, creating his own work whilst responding the residents’ strengths andneeds but without an agenda. Clark’s belief in the residents was highlighted
throughout our research encounters with them – they valued his opinions andappreciated the time that he devoted to enabling and facilitating their work. Some
residents had been wary of him at first because of their fear that as an ‘artsy’ person
he would be pretentious and would misunderstand them, but it was clear that theseboundaries were soon broken. In this way, the residency contributed towards
desistance because being believed in and communicating the belief that people canchange and have something to offer to society and others is a key factor indesistance from crime (Rex, 1999; McNeill et al 2005).
He’d always be about his office in education you could go to whenever he wasin and he’d always make you feel welcome and be really encouraging…WhenI arrived at Grendon there was an artist in residence, but we only saw her
once every two weeks and it was quite disjointed in the way it ran. When
Edmund took over, everything changed. He was working in the prison once or
twice a week. (Letter, Danny)
In my view the work that Edmund does with inmates you cannot buy with any
amount of money. (Letter, Jim)
I approached Ed and explained that I enjoy making cards and would there be
any help that he could provide. (Letter, Steve)Paul described how Edmund would frame the artwork that had been createdby residents and would arrange for it to be displayed so others could see it.
Paul said that this motivated people to create more artwork and commented
that he liked Edmund’s approachable nature – saying “he’s proper down toearth” and that he was someone who you would stop and chat to easily in thecorridor. (Interview notes – Paul)
Richard explained that he initially had some scepticism about Edmund in
relation to his motives and what he was doing at Grendon. However, he
explained that this view quickly changed, and Edmund was now a much49

respected and well-regarded member of the Grendon community. (Interview
notes – Richard)
Kevin stated that Edmund was very approachable and even though he wasn’t
involved as much as others in artwork, he enjoyed talking to Edmund about
different art forms. He said that if there was another artist in residence atGrendon, they would have “some big boots to fill”. (Interview notes – Kevin)This is more than just a job for Ed, he goes out of his way and genuinely
cares about the men and their art. They very quickly cotton on to people whoaren’t genuine but Ed has gone down very well with them. (Staff Interview –Jane).
Ed has a real passion for this work, he has been a role model for the men. He
has been touched by them and affected in a positive way. They can see Ed
being positively affected and they think “I must matter then”. (Staff interview –Jackie)Prison and the arts – general observations and thoughts
All residents expressed their frustrations about the lack of resources and support forarts in prisons. There was a recognition that at HMP Grendon, they had benefited
from the artistic residency but that people in other institutions were not so fortunate.
Residents also noted that key to enhancing awareness of the power of art was
opening prison art up to a wider audience of people. Some of the staff alsocommented that they would very much like to become more involved in theresidency as artists because the residency had inspired their own creativity.
Carl was very passionate about the value of arts in prisons. He referred toprisoners at other establishments and made the point that Grendon was the
exception, other prisoners did not have the same arts resources oropportunities as men at Grendon. He summed this up by saying, “The whole
prison system is missing the point as to how powerful art can be”. (Interview
notes – Carl)Paul stated that the wider public – not just people from the ‘arts bubble’
needed to be able to see prison art and speak to prison artists if arts in prison
were to receive more funding and support. (Interview notes – Paul)…my contact with people visiting the exhibitions at Grendon has been very
positive. They have not only been impressed with the work on display but
keen to talk with the artists and learn something of our lives within the prison
system. (Comments sheet – Adam).
I love art as well and it would be good if this was opened up to staff members,
I think it would bring the staff and residents together more and help theresidents see the more human side to us! (Staff interview – Carol)
50

I would love to have access to some arts materials, I’d really like to do someclay modelling. (Staff interview – Jane)

Summary
In considering our findings in relation to the second key question of the evaluation,
we believe that the residency has had an impact upon the residents of HMP
Grendon in their journeys away from offending to a large extent. The nature of this
impact is multifaceted, encompassing a range of desistance factors including hopeand motivation, having something to give to others, having a place within a socialgroup, not having a criminal identity, being believed in and building relationships.
The residency has also opened pathways for the pro-social achievement of a rangeof goals or primary goods identified within the GLM (Ward and Maruna, 2007) –notably knowledge, excellence, agency, inner peace, friendship, community, finding
meaning and purpose in life and creativity. In relation to the extent of the impact, we
believe that this is likely to be felt throughout Grendon but that those residents who
have been directly involved in the residency have benefitted the most.

51

Conclusions
Within this evaluation, we set out to address two central research questions: To what
extent has the residency contributed to the critical debate around prison,rehabilitation and criminality? To what extent has the residency had an impact upon
the residents of HMP Grendon in their journeys away from offending? Within thissection, we summarise our conclusions. Our proposals with regards to further
maximising the impact of the residency are outlined in the Recommendations
section.

To what extent has the residency contributed to the critical debate aroundprison, rehabilitation and criminality?
We argue that the residency has contributed towards the development of critical
discussion around prison, rehabilitation and criminality to some extent. The impact of
the Grendon Exhibitions was limited in terms of reach but more considerable interms of significance. They exhibitions facilitated enhanced awareness of the scopeand process of prison art, the strengths and limitations of prison artists, the link
between arts and desistance, the importance of the prisoner voice and the positive
contribution of HMP Grendon as an exceptional and successful institution. These
exhibitions also enabled a future focus in terms of embedding the legacy of theresidency within the wider criminal justice system. The impact of In Place of Hate isstill in the process of being generated given that the exhibition was ongoing at thewriting of this report. However, thus far, impact upon the audiences considered inthis report has reach, significance and is promising for the future. Published reviews
highlight contrasts between HMP Grendon and the wider prison system, promoting
critical debate about current challenges and issues. In addition, they demonstratecritical questioning of longstanding myths and stereotypes about prison andprisoners and a stimulation of curiosity about identity and change. There exist a
range of further opportunities to promote debate more generally amongst morediverse audiences in both mainstream and social media. Of particular interest are
differing levels of receptivity towards particular images within the exhibition and theaffect underlying this.

To what extent has the residency had an impact upon the residents of HMP
Grendon in their journeys away from offending?
We argue that the residency has had an impact upon the residents of Grendon in
their journeys away from offending to a large extent. Positive outcomes were noted
which were associated with a range of recognised desistance factors. Through theirinvolvement in the residency via creating their own artwork, being involved in Clark’s
discussion group and contributing towards the curation and organisation of theGrendon Exhibitions, residents demonstrated enhanced hope and motivation,52

enhanced capacity to give something to others, a sense of belonging within a socialgroup in which relationships were built and maintained, a further disassociation from
criminal identity and a boost in confidence at being believed in. The residency has
also opened pathways for the achievement of aims through positive and non-harmful
objectives – notably knowledge, excellence, agency, inner peace, friendship,community, finding meaning and purpose in life and creativity. In relation to theextent of the impact, we believe that those residents who have been directly involvedin the residency have benefitted the most although others are likely to havebenefitted indirectly from the positive outcomes experienced by their peers.

53

Recommendations
1) Where work created by prisoners is exhibited in spaces they are unable to bepresent within, that the artwork should be accompanied by a short, written
account by the artist to enable insights into the process and context.
2) The National Probation Service and Community Rehabilitation Companies
have the potential to facilitate and encourage the continuation of an interest in
the arts beyond prison. The learning from the artist in residence project should
be shared with them in an appropriate manner, perhaps through a tailoredonline resource for Continuing Professional Development.
3) Given resource constraints and continuing austerity measures within the
Ministry of Justice, in future evaluations of arts-based initiatives, attention
should be given to monitoring and demonstrating return on investment. The
current safety and reform programme 2017/18 - 2018/20 offers an opportunity
to propose evaluations which explore the potential contribution of the arts in
reducing violence and disorder in prisons.
4) The images and messages from this residency about prison, arts andrehabilitation need to be shared much more widely. The February 2018
symposium and future events should encompass delegates from mainstream
media, education and the criminal justice system.
5) It is particularly important that young people considering careers in thecriminal justice system are aware of Clark’s residency therefore it isrecommended that an accredited module drawing on key learning outcomes
be developed for students studying criminology and criminal justice in higher
education institutions.
6) There should be a more pro-active stimulation of critical debate on social
media platforms around In Place of Hate. Given its diverse and extensive userbase, Facebook should be a target. However, the image-based nature of
Instagram also holds potential as a key platform for encouraging debate andreflection.
7) Consideration should be given to the setting up of an award that focuses onrecognising prisons where arts and creativity are facilitated and enabled. This
would complement existing awards i.e. The Koestler Trust Awards, which
recognise individuals as opposed to institutions.
8) The residency has inspired creativity among members of staff as well as
residents. As such, the possibility of staff members participating in arts based
activities alongside residents should be explored if a third residency takes
place.

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