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This paper explores the transformative power of art from a class taught in a Maximum-Security Prison for Women. The paper includes class observations and qualitative interviews from an approved IRB study. The art by the students in the class contrasted the prison’s dehumanizing logic.
Confined by a rigid structure that prioritizes control over rehabilitation, incarcerated persons are reduced to mere numbers, their complexities erased by the cold efficiency of the carceral system. The rhythmic clang of keys, the grinding groan of locks, and the heavy thud of steel doors paint a grim picture – not of life, but of a system relentlessly transforming human beings into cogs within its machinery.
Yet, amidst this orchestrated dehumanization, a defiant melody persists – the vibrant spark of artistic expression. This essay argues that art serves as a powerful counterpoint to the dehumanizing forces at play within prisons, offering incarcerated persons a space for self-discovery and a means to challenge the narratives imposed upon them.
The prison system thrives on a relentless symphony of control and objectification. Incarcerated persons are subjected to a monotonous regimen of routines and surveillance, their every move monitored and meticulously documented. This relentless control aims to eradicate individuality, transforming human beings into predictable, manageable units. Prison labor reinforces this objectification. Far from serving as a rehabilitative tool, it becomes a means of economic production, further solidifying the prisoner's status as a tool rather than a person.
However, the artistic spirit possesses an inherent resilience, a capacity for self-expression that refuses to be entirely silenced. Reflecting on class discussions and qualitative interviews, the paper explores how creation emerges as a powerful counterpoint to the dehumanizing mechanisms of the prison. A crucial distinction exists between "creative acts" commissioned by the prison and genuine "creative expression" that arises from a place of personal exploration. The former, exemplified by the painting of ornamental flags, might require skill but lacks the element of personal expression. The artist merely reproduces pre-existing forms, her creativity channeled into serving the system.
True artistic expression, on the other hand, flourishes from within. Maurice Merleau-Ponty differentiates between "first-order speech" – the act of grasping at the world through lived experience – and "second-order thoughts" – the regurgitation of pre-existing ideas. Artistic expression embodies this "first-order speech," allowing the artist to grapple with the complexities of their situation and challenge the dominant narratives. The paper presents an example of an artist who embedded tiny Minions within her commissioned flag murals. These playful cartoon characters, known for their nonsensical language and chaotic behavior, represent a subversive commentary on the absurdity of the prison system. This act of defiance demonstrates the transformative power of art. It allowed the artist to reclaim their voice and express their unique perspectives when often silenced within the carceral system.
This story and other transcends the confines of the prison walls, allowing artists to connect with their inner world and explore the depths of their lived experiences. The act of creation fosters self-discovery and meaning-making, offering a sense of agency through art when other aspects of one’s life are constrained. Through their artistic endeavors, the class participants confronted complex emotions and grappled with experiences that might otherwise remain unacknowledged. There is a stark contrast between the vastness of the sky or the unbarred fields depicted in the artwork of some students, and the harsh reality of their current world. These artistic expressions point to a longing for home – a concept further elaborated upon by philosopher Drew Leder. He describes how incarcerated persons, with their geometric grids, cement walls, and constant surveillance, disrupt the "life-world of nested places" that define one's sense of belonging. This experience is further underscored by an art featured in the paper, Busy as Bees, which expresses the unhomeliness of prison life. The painting depicts a one-dimensional foreground of prison life sharply contrasted by a distant, two-dimensional world outside the confines of the barbed wire fence. This contrast highlights the mechanical, controlled existence within the prison walls.
Artistic embodiment challenges the objectifying gaze of the carceral system. Merleau-Ponty's concept of the "intentional arc" highlights how bodies are not merely objects but are integral to how we experience and interact with the world. Even though prisons disrupt this "intentional arc" by limiting prisoners' agency and ability to engage with their environment in a meaningful way, artistic expression provides a new “intentional arc” by allowing the artist to express themselves. Here, art offers a second layer of flesh to help the artists re-perceive the world and resist confinement:
Reclaiming Subjectivity: In prisons, paintings offer an outward representation of a person's subjectivity when the rest of their environment dictates another narrative. Artistic expression acts as a witness to their inner world, revealing a different understanding of themselves – not just a prisoner, but a person engaged with the world and others.
Social Connection: Art creates a "flesh" woven together by creative expression. This "flesh" isn't biological, but rather the web of relationships and experiences that shape a person. The act of creation fosters connection, reminding prisoners that they are not isolated units, but part of a larger social fabric.
Art resists categorization and carceral solutions. It allows for the exploration of ambiguity and complexity, challenging the prison system's reliance on one-dimensional narratives. Instead of offering a definitive solution, art encourages us to "re-solve" and "dis-solve" the carceral system, dismantling its dehumanizing tendencies and moving towards a more holistic approach that recognizes the inherent worth of each individual. Art allows persons to reclaim their agency, express their unique narratives, and connect with something larger than themselves. By revealing the sacred spark of humanity within each person, art challenges the totalizing logic of the carceral system and, through its "flesh-like" qualities, offers a pathway toward transformation and healing. While a complete solution may not be readily achievable, art helps us re-imagine a system that prioritizes the wholeness of the human experience.
Abstract for Online Program Book (maximum 150 words)
This paper reflects on an art class at a women's maximum-security prison. Here, art stands as a defiant counterpoint to the system's dehumanization. Prisons reduce individuals to numbers and enforce singular narratives. Philosopher Merleau-Ponty argues that our bodies are central to how we experience the world, but prisons, a site of bodily confinement, disrupt this. Art becomes a "second layer of flesh," offering two key insights: 1) Reclaiming Subjectivity: incarcerated artists express their inner selves through art, defying the prison's narrative. Paintings become a window into their complexities and experiences. 2) Social Connection: The act of creation fosters connection. It's not just about the physical act of creating, but the web of experiences and relationships woven into the art. This reminded the incarcerated artists that they were part of a larger social fabric, not isolated units. While art doesn't offer simple solutions, it challenges the prison's one-dimensional view. Art pushes us to re-imagine systems that value the whole person.