out of styal

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A workshop led by Deborah Zeldin-ONeill and Sarah OHana


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I n s id e Designers have worked with prisoners before. In 1994Wayne Hemingway, of Red or Dead, produced hiscontroversial Keyhole catwalk collection, using motifssuch as arrows and prison numbers, and makingstylistic references to prison-wear.

Like Hemingway I wanted to explore the potential of prisoners to produce truly unique pieces that wouldreect their individual experiences. But unlike him, ourlimitations were made clear to us from the start. In ourrst meeting we were told that any photographs takenfor use in the catalogue should not directly referenceprison-life, that any cable or cord should not exceednine inches in length, and that all sharp implements

such as scissors and needles should be meticulouslymonitored at all times. One might think that suchrestrictions may have exacerbated an already difculttask, but as the project progressed, any such notionswere quickly dissipated. The women that we workedwith showed imagination and creative brevity beyondany of our expectations, producing remarkablepieces both reecting and being inuenced by theirsurroundings testament, surely, to the fact that art-

jewellery can be fabricated using the most readily

available of materials and tools, and in circumstancesthat could so easily have thwarted originality.

Interestingly, it became apparent from conversations within the groupthat a myth had arisen regarding the privilege system within theprison.Good behaviour such as obeying the rules or helping others wasrewarded by being allowed to wear more items of personal jewellery,such as another ring or an extra pair of earrings, if they owned them.I noted with fascination that this particular luxury was prioritised abovenecessity, despite the scarceness of the latter.

Despite having invested much time and emotional energy intotheir pieces, the prisoners werent allowed to keep the work aftercompletion. Whilst this rule is obviously logical, it was neverthelessdifcult to observe their anguish as they were separated from itemswhich we had been transformed from such everyday objects such as JCloths, toy soldiers, and safety pins, into personal treasures which we

they had watched grow.

Having worked with the women of Styal Prison, it has become evidentthat while jewellery means one thing to the customers of high street

jewellers, it means quite another to these women to whom jewellery isa vehicle by which to interpret their emotions and communicate theirsense of social isolation, the irony being that their pieces carry a farmore potent message than anything that can be bought.

Deborah Zeldin-ONeillJeweller artist

Take care of the luxuriesand the necessities will take care of themselves.Dorothy Parker


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u t o f S t y a Very early on in the planning of the Ars OrnataEuropeana for Manchester 2007, the title Inside Out produced a myriad of ideas that we hoped wouldmake for a stimulating event. The suggestion to holda jewellery-making workshop in prison with DeborahZeldin ONeill was not as directly linked to the obvious

notion of being inside as it was to the idea of offeringquite a different audience a new set of skills that theymight engage with and adopt for their own futuredevelopment.

The workshop was carried out over six weeks andhas been treated as an experiment, with undeniablyexperimental outcomes. It has been lead byexperienced qualied jewellers/lecturers whose valueslie beyond the measurable skills often prioritised insociety today. It seems logical to artists that whenan individual is at a loss for words, for whatever thereason, s/he should nd a different mode of self-expression. The work of Peaker and Vincent, (seeJermyn 2001, p.22) supports the well-documentedfact that creative learning enables personaltransformation and increases self-esteem. I believe thecreation of jewellery offers an alternative to collectiveactivities such as murals or theatre productions, as

it opens opportunities to work alone on somethingvery small and very private in an unlimited rangeof materials.

Perhaps this decision was rather a brave one. What made us think thatprisoners would be interested? Would they think it presumptious of us toassume they would? How could we get past the association with preciousmaterials? Of what use could our specialism and our enthusiasm bein their world?

Working within the Styal environment restricted our activity to anabsolute minimum:

No tools or sharps of any sort allowed Lengths of wire, ribbon, string etc, restricted to 12 inches Different audience every week Short attention span Women not allowed to keep items made High proportion of self harm Some homeless

We had to shed a number of preconceptions. That jewellery is not allmade of gold and diamonds, and that prisoners are not all criminalsserving a life sentence. Only 5% of the prison population is servinga life sentence and 24% is unsentenced. This means they are simplywaiting. Most welcomed the fresh novelty of a jewellery workshop runby people from the outside. There was some disappointment with thematerials we offered, but all were keen to adorn themselves and quickly

did so as soon as the rst tentative pieces were made.

Is this going on the out, miss? (Emma)


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The varying groups of women that joined us week by week spokemainly of their families, of boredom, of childrens birthdays that theywould not be home for, of missing nice food, of never marrying again,ever. Making by playing with nonprecious materials produced a slowdrip feed of condence that grew from our conversations, and ourdelight at the emerging pieces raised a new conscience, if briey, in

the mind. Like patchwork quilters who would gather together, thisworkshop developed from the fragments of thoughts and materialsstitched together with the common thread of women in solidaritywith each other. Over cups of tea and persuasion, latent imaginationowered into beautiful pieces made entirely without tools. The therapyof making through talking revealed to the women how possible it wasto create from everyday materials, and to consider the true value of objects made with intent. In this way the transformation of a J Cloth toa necklace became quite acceptable, where once it had not.

In steering this movement home to its ideal conclusion and fuelling thewomens initially tenuous ideas, Gabinas evocative collar of soldiers(p.11), Sharons poem necklace (p.36), Alyas painted gures (p.14)and many other pieces were born. Was this not the nal measureof success?

The workshop, not without its fun and levity, caused many in Styalprison to think twice about their creative potential, a newly foundfreedom with a future potential.

One last stage would conrm this victory: thescrutiny of the eye behind the camera that observedeach piece and committed it to permanence in thispublication. Through a journey in and out of the

jewels, stopping to focus on details that exposethe drama of each piece, the viewer can receive

all the power and the undercurrent of emotionalexpression invested throughout the six weeks of thisworkshop.

We are indebted to the collaboration of thewomen in HMP Styal and sincerely hope that,despite the problems of tracking those who arenow out and possibly homeless, they eventuallyreceive this publication with all our good wishesfor the future. In answer to Emmas questionat the beginning: yes, this exhibition is goingon the out.

Sarah OHanaJeweller, lecturer, The University of Manchester

Reference:Jermyn, H. (2001). The Arts and Social Exclusion: A Review Prepared for the Arts Council of England. London, Arts Council England.


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o u You have been placed in an environment with strictrules and routines away from society. You no longerhave easy access to friends, family, known routinesand belongings that provide you with a sense of security and belonging.

When you are placed in such a depersonalisinginstitution it means you will not have the same accessto many meaningful paid or unpaid activities we takefor granted in everyday living. It is also likely you willbe subject to a wide range of uncertainties about yourfuture. This could include how long you will have tobe in prison if you are waiting the outcome of ongoinginvestigations, the trial process or applications forparole. You will be worrying about whether your lifewill be the same or different when you do eventuallyget out.

You may also become aware of how you may havebeen impulsive, manipulated by others, ill informed orunaware of the consequences of your actions. It maybe you had made a calculated decision, which younow regret in deciding to carry out criminal activitiesassuming you would not be found out. As a resultyou are apt to become prone to boredom, anxiety,depression and stress. Your behaviour mayindicate you are experiencing real mental healthproblems. These can include emotional responses

such as phobias and physical symptoms such as chronic headachesor abdominal pain, without a discernable physical cause.

In addition you can develop eating disorders such as anorexia nervosaand bulimia, or adverse habits, such as tics, sleeping problems andsoiling. You are also known to self-harm, attempt suicide and usedrugs, both illegal and prescription, that have been illicitly obtained.

You might get involved in episodes of stealing, deance towards staff,verbal and physical aggression, over activity and other antisocial acts.

In an effort to support your well-being there are various sources of helpincluding medical staff, prison ofcers, social and probation workers,representatives of the judicial and legal systems, prison visitors, forensicpsychologists, probation services and educational staff.

You will have your own issues and your own personal support systemsbut for all of us creativity is a vehicle for breaking out of your own

prison. It is possible to do this in everyday ways from deciding whatyoure going to wear to what you are going to cook and how youwill decorate your living space. Out of Styal is an exhibition of work channelling emotions and thoughts into artistic expression using themost mundane materials available.

Jennifer NobleChartered Psychologist

Useful Reference:Rowe, D. (2003). Depression: The Way Out of Your Prison .Taylor and Francis.


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Collective piece. Vintage Levis, found objects.


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Gabina. Collar: plastic toys, monoloment, steel tubing.

Gabina. Necklace: plastic toys, silk ribbon.

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Joanne. Collar: plastic toy, felt, steel wire.

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Alya. Necklace: plastic toy, silk ribbon, steel binder rings, paint.

Alya. Necklace: plastic toy, cotton tape, steel binder rings, paint.

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Alya. Necklace: plastic toys, cotton tape, lace.

Alya. Necklace: plastic toy, ribbon, steel binder rings, paint.

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Sharon. Pin: laminated poems, found objects, kilt pin.

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Gabina. Necklace: safety pins, paper clips.

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Gabina. Necklace: ne steel wire, washers.

Gabina. Rings: ne steel and copper wire.

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Dawn. Pin: kilt pin, buttons.

Emma. Medal: Cable ties, rubber ring, ribbon.

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Collective Piece Jeans: vintage Levis, found objects, marker pen.

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Amanda. Collection: plastic tape measures, safety pins, split rings.

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Sam. Necklace: measuring tape, safety pins.

Victoria. Bracelet: measuring tape.

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Karen. Bracelet: paper clips.

Joanne. Bracelet: electrical connectors, metal componants.

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Sharon. Necklace: J Cloths.

Michelle. Brooch: prison tea bags, buttons.

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Sharon. Necklace: laminated poems, silk thread.

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Acknowledgements


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Out of Styal was a project carried out by Sarah OHana and Deborah Zeldin-ONeillat HMP Styal with the support of City College Manchester. The exhibition was curatedfor Inside Out, the Ars Ornata Europeana conference 2007, Manchester, UK.

Conference Organisation Texts Copy-editingSarah OHana Deborah Zeldin ONeill Jeremy LawranceJo Bloxham Sarah OHana Sophie Charlotte ONeillJim Grainger Jennifer Noble

Graphic Design PhotographyMia Bengtsson, www.graformat.com Jim Grainger

HMP StyalSteve Hall GovernorNorma Garvey Education ManagerRichard Gray Department Education ManagerMaggie Barnes LecturerAnnick Platt Head of Learning SkillsNicola Murray Art Department

Joanne, Sharon, Sam, Karen, Marie, Victoria, Carmel, Michelle, Dawn, Gabina, Amanda,Karen, Emma, Joanne, Alya, Amy and all the others whose names we did not recordbut who contributed to the success of this project.

Thank you to Pablo OHana for the donation of toys used in the workshop. Published in 2007 by TheVirtualCompany.co.uk Ars Ornata Manchester Ltd. 2007Text 2007 Deborah Zeldin-ONeill, Sarah OHana and named contributors

Images 2007 Ars Ornata Manchester Ltd.

ISBN 978-0-9556044-3-0


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