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Case study : Group project " Danger! Men at Work"

Danger! Men at Work: Harold Nibblet’s Statement.

I started off doing a drawing of a football scene. We did this on material using hot wax on cotton fabric. Then I painted the picture using different colours. I chose a football scene because I used to play football.

The next thing I did I drew a picture of a plane and some buildings and cars. I then traced the picture onto metal and embossed it using a punch and hammer. I made up my picture using different metals and also tacks.

The picture shows a plane, it’s a German plane called a ‘Stuka’. I saw lots of these during the war.

Out of all the work I have done I enjoyed doing the picture of the plane using the metals. I am proud of it. I would do something like this again. I have enjoyed myself.


Danger! Men at Work: Sidney Ball’s statement.

I first started off by doing “batik”. This is where you draw a picture onto material using hot wax. Then you paint it in different colours. My drawing was of a fish. I also did some embossing of a fish and a bird. Then I did a picture using different kinds of metal.

My picture was of a car and a road and some buildings. I chose a car because I used to drive a car. I actually had five! The car is a sports car. I used to have a Ford Popular, an Avenger, an Austin 16, a big black one and a Cortina. I chose the car for my picture from a magazine because it is a sports car and it caught my eye.

Out of all the work I’ve done I enjoyed the metal work, probably because I used to do metal work in a factory. I made my frame for my picture using metals and pins and I embossed small cars around my frame. I have really enjoyed doing this work, and I have the chance I would definitely do it again. I am really proud of the work I’ve done.


Danger! Men at Work: Tom Lowe’s Statement.

When I lived at home I really enjoyed doing the garden. This made me want to do this beautiful piece of work. I am familiar with David Austin who is the most famous rose grower in Britain. When I looked at the pictures of roses in his catalogue, it inspired me.

I’ve really enjoyed working with Tracey to make the clay flowers, paint them and arrange them into a garden. I particularly liked the colours and the feel of the ‘grass’. I am really pleased with how it turned out.

Tracey- I’m also very pleased with Tom’s involvement in the STAA project. It was nice to see him enjoy doing something so much.


Danger! Men at Work: Jim Clarke’s statement.

I started my work by doing a drawing. My drawing is of my dog, Darius. He is a Labrador, a white one. My drawing was then enlarged and I painted it. Then my painting was traced onto a piece of material and I traced the picture using hot wax. I then painted the material. My last project was to make a picture using different metals and meshes. My picture is really good.

I haven’t seen my dog for over three years. I miss him a lot. When it was cold he used to sleep on my bed and I used to put the blanket on him. He was six weeks old when I had him.

I have really enjoyed doing this work. Now every time I miss Darius I look at my picture I did and it reminds me of him. Darius was too fat at one time and we had to put him on a diet. My picture reminds me of the fat Darius.

A craft and textile project designed around six men who lived in a residential home. A man who had been in institutional hospital care for many years was resettled in the home. As a way to support him in this transitional time a STAA artist and occupational therapist from Edward Street Hospital worked with the group over twenty sessions.

An observation of one session’s activities by Professor David Jolley as part of Dementia Plus West Midlands’ Evaluation of STAA in 2004:

DJ was able to sit in on a morning toward the end of this project.

It was a wonderful experience. Within the framework of a very ordinary Nursing Home routine, something special had been established. It was understood that on Friday mornings, the men would set up and set to work.

In the absence of a dedicated space (room), the dining room had been drawn into commission. Table became workbenches (hammer marks to prove it). Most of the residents of the Home are women. The men are in the minority and generally ill-at-ease with the quietude of the regime. To gain their interest in anything, particularly their positive interest was a challenge. But a few came along and eventually seven became a workforce. The artist began to explore their backgrounds and interests and thoughts on what to do. Hammers came in early. The sound of hammering was accepted as music to the ears, a music at odds with the expectations of quiet and acceptance of care and feminine values.

So we hammer and we are men at work.

Michael, Andy, Brian, Sid, Harold, Professor Morriarty and Malcolm adopt particular benches and set about their creative works. Some have continued to hammers, other paint or mould, stack, collect or whatever. All are creating something which comes from them and their past.

They talk as they work. Talk to the artist, the staff helpers who are allocated time to the project, the OT whose enthusiasm, passion and care flood generously over everyone and everything. They talk with each other and even with me (DJ). Surprising lives, surprisingly thrown together. One with a life almost wholly confined to institutions, in extraordinary contrast to another who has travelled the world and carried responsibility for many employees, brought together in common need and silence.

And the workplace has a structure and hierarchy:

  • Tea break, naturally.
  • A runner, more able than the rest, and finding kudos and perhaps profit in collecting monies and disappearing to fetch cigarettes, sweets and a newspaper.
  • Consoling a frustration.
  • Chatting up the pretty young helpers.
  • Grumbling about or showing off to the visitor.
  • Confiding that the food is not as good it might be.
  • Wishing we had a shed or somewhere to do the work without threat of disruption.
  • But here is the bell! Have to make way for lunch.
  • Surely we can continue. There is much still to be done.
  • To hear the planning and exploration strategy from the artist and OT is poetry in itself. Each man respected, valued and loved back into being from anonymity.

To hear the planning and exploration strategy from the artist and OT is poetry in itself. Each man respected, valued and loved back into being from anonymity.

The art community, or community of artists, emerges as a prophet sect of our time, seeking and rescuing individuals for themselves and each other, for all of us.

The two young helpers, care assistants within the Home, demonstrated talent, interest and wit. Both were uplifted and excited by the experience, were being encouraged to apply their new skills and confidence at other times during the working week and had thoughts to extend their training. They were involving other members of their families in developing themselves and their ideas.

The Officer in Charge of the Home is astonished that the men have become involved at all. She knows they have looked forwards to Fridays and dreads to loss when the project ends. She hopes her helper trainees will be able to carry on. The presence of the activity has had a positive impact on the life of the Home. She has sympathy with the idea that a special place should be created/set aside for such activities.

Other residents commented favourably.

  • ‘They can be very noisy, you know. I think they do it just because they can.’
  • ‘They are always slow at clearing up. We have to wait for our lunch. It’s their way of letting us know they have been doing something different.’
  • ‘The rest of the week, you can’t see them doing anything.’

Families of the men have commented happily on the venture. Some have come along, there was a son present at the session DJ observed. They have contributed materials, photographs, stories and been pleased to share humour and pride based on a life they have shared, which had seemed lost before its time.

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