Duckrow_QI_Project (1)

Running head: QUALITY IMPROVEMENT PROJECT Duckrow 1
Benefits and Limitations for a Ceramics Art Therapy Studio
Serena Duckrow, RT- Unit 23, ATR-BC
3 June 2014
SERENA.DUCKROW@psh.dsh.ca.gov

Benefits and Limitations for a Ceramics Art Therapy Studio
Literature Review
Founded in 1893, as the Southern California State Hospital for the Insane and
Inebriates, initially the facilities were part of the Department of Developmental Services
and cared for people with mental and medical needs. Constructed on a large acreage at
the base of the San Bernardino National Forest the asylum was considered a respite for
people with intellectual disabilities, syphilis, tuberculosis, pervasive developmental
disorders, and dementia. However, in the early 1980s, when the facility became part of
the Department of Mental Health, it began exclusively accepted patients that had both a
mental illness and a penal code commitment. Now, under the California Department of
State Hospitals, DSH-Patton is one of the largest and oldest forensic psychiatric facilities
in the United States. It houses roughly 1500 civilly and forensically committed patients
with a variety of mental illnesses, cognitive and physical capabilities, and penal code
commitments.
In recent years, there have been several studies that support the expressive art
therapies for offenders with severe and persistent mental illness (Gussak, 2006, 2007;
Smeijsters & Cleven, 2006). Formal evaluation of the history of forensic psychiatry,
state hospitals, research in the field of art therapy techniques in rehabilitation, and clay art
therapy studios shows promise for improving treatment for mentally ill offenders living
in locked psychiatric hospitals. Forensic psychiatric facilities are responsible for the
mental health treatment and well being of their patients; therefore, clinicians continue to
explore ways to improve the quality of life of mentally ill patients within locked facilities
(Nieuwenhuizen, Schene & Koeter, 2002).

Art therapy has been shown to be effective with this population and the
publication and presentation of the transformative findings will add to the growing body
of research literature from expressive arts therapists and rehabilitation therapists
(Liebmann, 1994; Gussak, 2006; Smeijsters & Clevens, 2006; NCCMH, 2010).
Deepening the pool of research is commonly stated to be a primary goal of clinical
expressive art therapists and continued research is a common plea amongst published
clinicians (Gussak, 2007). Current research on offenders who are experiencing mental
illness living in locked correctional facilities illustrates the need for enhanced mental
health services. For example, incarceration can cause anxiety and depression, agitation
and aggressive acts, and increase symptoms of psychosis, requiring rehabilitation therapy
with this population (Snyder, 2012). However, there is very limited research on offenders
with mental illness living in forensic psychiatric hospitals and even less about art therapy
treatment with this group. Even further, to date, there is no information on collaborative
ceramic art therapy studios as expressive therapy in forensic psychiatric state hospitals.
Introduction
Reviewing the recent literature on forensic psychiatric facilities and the creative
therapies, there is very limited information. In fact, in several research articles I found a
common plea in their summaries: “Further investigations are needed to explore the
implications of these findings in relation to their application and possible uses for
improvement to service delivery” (Van Lith, Fenner & Schofield, p. 659). Employed with
the Department of State Hospitals—Patton (DSH—Patton), for the last four and a half years,

I have worn the hat of a rehabilitation therapist, an art therapist, an activity coordinator, a
treatment team member, and an artist. Each week I facilitate fourteen hours of rehabilitation
and recovery-based treatment. These groups may be traditional group talk therapy focusing
on mental health issues, unit government, individual art psychotherapy, animal-assisted
therapy, as well as the ceramics studio. I have felt that exploring the art therapy that is
provided at DSH—Patton will help the patients, the facility, and the field of art therapy as we
can look into how the art actually helps the patients. Surveys give the patients the
opportunity to voice their opinions about the treatment, what works, and how we can help to
improve their treatment.
Importance of the project
Gathering information on the expressive art therapy groups provided enhances current
rehabilitation therapy programs provided to the patients. DSH—Patton has not published to
date any formal findings on the creative arts therapies that are provided to the patients. I
believe that it is important to evaluate the mandated treatment that the patients participate in.
With art therapy techniques and programs more frequently being evaluated and researched,
the facility may provide best-practice treatment supported by empirical data. Roberts and
Bailey advocated, “We need to develop ways of delivering interventions which capitalize on
those factors which facilitate engagement and overcome potential barriers” (2011, p. 705). I
believe that this project will help to improve the patients’ treatment. In this QI project, I
explored the therapeutic benefits and limitations of a collaborative ceramics studio.

Quality Improvement Project
Over the last year, the Quality Improvement (QI) project has explored the
collaborative ceramics art therapy studio. Along with other Rehabilitation Therapists (RTs),
I facilitate the group three times a week on Tuesdays, Wednesdays and Thursdays. My
questions attempted to uncover: What are the benefits and limitations of the ceramics studio
for the participants? What are the common themes gleaned from the participating members?
and Does creating art and having access to an open ceramics studio have an effect on mood?
After receiving the necessary approval from the Quality Improvement council, I then
provided the patients and their respective psychologists/psychiatrists to sign the consent
forms for photography (see attached). I discussed with the patients the idea of the project,
and why I wanted to do it. I also informed them what it would require of them to participate.
There were no changes to the group; the group would continue to be led by myself and two
co-providers like it was for the last three years. However, I would need them to answer some
questions, and put them into writing as best they could.
Process
I started the project in October of 2013 with the start of the fall treatment group cycle.
The participants needed to participate once a week for all twelve weeks. If they missed a
day, they could make it up on either of the other two days that group was held that week. If
they could not make it up, then I would not be able to use their information for my project
and they would not be able to participate in the parties at week six and week twelve. I was

able to find 12 patients that were able to make that commitment. I collected three surveys at
week one, week seven, and week twelve, daily pre and post group self-report mood scales,
and photographs at the end of every group.
The 12-week cycle began with a brief two-question survey that asked what
participants would like to gain from the group and what background participants had with
ceramics (see attached). At the start of each group all participants rated their moods on a
Likert scale from 1-5 (see attached). Then, all participated in ceramics studio for 60 minutes.
Patient art was photographed at the end of each session; each participant was offered a copy
of their favorite photograph from the 12 pictures of the group cycle. At closing, each group
member discussed their experiences in the group for that day. Groups closed with each
member sharing what they worked on, how group went for them, and what they wanted to
work on in the next session. At the end of group all participants again rated their mood on a
scale from 1-5 (see attached). At week seven, the mid-point of the 12-week project, the
patients were asked to complete another survey consisting of four questions (see attached).
Results were tabulated and analyzed using qualitative research methods. At week 12 each
patient was again asked to complete a final questionnaire consisting of four questions. The
survey asked how much they enjoyed the group or not, how much they found the group
beneficial or not, and what the benefits and limitations to the open art studio group (see
attached).

Who participated?
Initially, 17 people were willing to participate in the 12-week course. However,
data from five patients was pulled from the study as they were unable to complete the
entire group cycle. Therefore, the participants included 11 male patients and one female
patient. Each received a pseudonym to provide confidentiality. Four of the members
were new to the group (Donna, Pedro, Raul and Tom) and the other eight had been
enrolled for several months to three years (Winslow, Steve, Bert, Mikey, Armando,
Mark, Bob and James).
What I found
Survey at Week 1
At week one, the patients were asked two questions. The first two survey
questions asked the patients what their past experiences were with art therapy and what
they would like from participating in this group. For the first question, two patients said
that they had been in art classes as children, two said that they had been in art classes in
high school, three had participated in art therapy groups at the site, and two said they had
participated in another locked facility. Three patients said that they had never
participated in an art therapy group before. Of these past experiences with art (therapy or
classes) experience, four claimed that it was a positive experience. One went on in detail,
explaining that it made him feel “whole”. One person mentioned that he had a negative
experience because he was unable to focus on projects. There were a variety of responses
to this question; some were able to say when and how it was while others were able to
mention when they were involved in some form of art making. As three responses shared

their lack of experience with art therapy, there was interest to see what their expectations
were from participating in a ceramics art therapy studio.
To the second question, what would you like from this 12-week group, patients
responded with answers ranging from one to several expectations. Five patients said they
would like to increase skill, three said to learn coping skills, six mentioned
accomplishing/ working on something, three said to express their creativity, and three
wrote to improve their mood or relax. Eleven of the 12 participants wanted to either
learn about or make ceramic arts; while nine of the 12 participants hoped that it would
also benefit their rehabilitation through practicing coping skills, improving their mood, or
creatively expressing themselves.
Survey at Week 7
Week seven’s survey question: Is the group helping you, yes or no and to explain
why or why not found that eleven out of the 12 said that it was helping. Most people were
able to give several examples of how it was helping; 13 responses said that it made them
feel better, relaxed and cheerful, and it eased their mind. Five responses stated that group
improved their self esteem, three liked the group atmosphere, three found it was a
positive thing to do, four liked that they were able to create something and express
themselves, and one person said that working with their hands was the most important
aspect of the ceramics art therapy group. One of the 12 responded that it was not helpful;
he wrote, “I can’t remember what I do, most likely.”
The second question was if the group positively or negatively affected their
rehabilitation. 11 wrote that it positively effected their rehabilitation, while one wrote

that it neither positively nor negatively affected their rehabilitation. He explained, “that’s
not what this group is for.”
The third question asked does the group effects their mood positively or
negatively, and why or why not? All 12 stated that the group positively affected their
mood.
The fourth question for week seven’s mid-point survey was why do you attend
this group? Some patients wrote one answer, while several listed multiple reasons. Five
wrote that it improved their mood, three wrote that they liked the clay and working with
their hands, three wrote to express their self, three wrote that it helped them make good
choices, two wrote that it was fun, two wrote that they liked learning and felt they were
making progress, two wrote that they liked the group setting, and one stated that he had
no idea.
Survey at Week 12
At week 12, there were four more questions. The first was to rate on a scale from
1-5 (with 5 being the highest) how much did they enjoy the group. 9 scored the group at
a five, two scored the group at a four, and one scored it at a 4.5. When asked on a scale
from one to five (with 5 being the highest) how much did they benefit from group, 10
scored the group at a five, one scored it at a four, and one scored it as a 4.75.
The answers to the question What benefits did you get from attending group? are
illustrated in Figure 1 below.

FIGURE 1
Benefits of participating at week 12
The fourth question which asked the patients to provide feedback was designed in
order to help improve the group. There were seven responses to have more clay and
glaze options, three wished they could attend more often, two suggested newer tools and
supplies, one suggested a group project where they could all work together, one wrote the
room could have more pictures of ceramic art or a book to help give them ideas, one
wanted a larger room, one wanted the group to be advertised so that more patients could
attend, one wanted to have a board of glazed tiles that could show what each glaze looked
like upon firing, and three wrote that there were no improvements needed.

Index of Art
Image 1: Wind chime by “Winslow”
Image 2: Triceratops by “Steve”
Image 3: A Woman’s Face by “Bert”

Image 4: Potato Head by “Mikey”
Image 5: Sweat lodge by “Armando”
Image 6: Kettle by “Donna

Image 7: Jack o’ Lantern by “Mark”
Image 8: Duck Feet Bowl by “Bob”
Image 9: Old West Cabin by “Tom”

Image 10: Archangel by “Raul”
Image 11: Tree by “Pedro”
Image 12: Wall Plaques Hope, Joy, Peace, and Happiness by “James”

Mood Scales
Participants rated their mood on a scale of 1 to 5 before group started, and at the
closing of each group session. Over the 12 weeks, the mean self-reported mood scores
were higher after group than at the beginning of group.
GRAPH 1
Mean pre-session and post-session self-reported mood scores for each week
Discussion
The questions were: What are the benefits and limitations of collaborative
ceramic art therapy groups for psychiatric patients in a locked forensic psychiatric
facility? What are the experiences of the patients in a collaborative ceramics studio?
Are there effects on mood of patients after a 90 minute session? How can therapists
provide art therapy studios that best foster creativity in patients?
It was hypothesized that the group art therapy sessions would be helpful to the
patients in many ways. Throughout the QI project, the collaborative ceramics art studio

was found to be treatment that the patients attended, enjoyed, and valued. The average
mean of mood before and after group illustrated that the individuals left in a higher mood
after the ceramics group. Psychological benefits for mood improvement as well as for
the enhancement of quality of life were found. Each patient benefited in a different way,
there were shared experiences and crossover to what they found to benefit them and how,
but their experiences were as individualized as they are. The patients each produced
meaningful pieces of art that they were willing to talk about and share with myself and
the group.
Their experiences were varied but for the most part very positive. Looking at
what they expected for the group, the group met their expectations. The surveys revealed
that: Benefits at week seven included learning about ceramic arts, using their hands to
work with clay, self-expression, and increased self-esteem, learning coping skills, mood
improvement, and enjoyment, making good choices, and having fun. Benefits at week 12
included: relaxation, staff help, and learning about coping skills, listening and sharing
with others, learning about ceramic arts, improvement in mood, creative expression, and
increased self-image. Their input at week 12 for What improvements could be made?
were noted and shared with the arts in mental health (AIMH) coordinator, Robyn Kohr.
She put in orders for new glaze, brushes, and clay soon after the research project ended.
Limitations
In the future, improvements would be made to the design of the project. Data
would be collected to ensure anonymity in order to allow privacy in sharing feedback.
Along with the self-reported mood scale, the use of an empirically backed scale such as

the Beck Depression Inventory would be scored pre and post group cycle to note any
changes over time. Perhaps a psychology intern would be able to participate. I would
venture the IRB process in order to validate the study. I would also propose a project
where I would not be the researcher and the group provider.
Recommendations for research would be continued qualitative and quantitative
research exploring the use of clay for offenders with mental illness within forensic
psychiatric state hospital systems. Clay is a contraband item in the majority of
correctional facilities; however, as are most art media, supervised use is appropriate and
acceptable. With such noted benefits for the patients, programs could be recommended
for preliminary trials. I would like to publish on behalf of DSH—Patton an empirically
based research study that illustrates the strengths of expressive art therapy with the
forensically committed mentally ill offender.
Conclusion
Despite the many restrictions on clinicians, offenders, and the sites responsible for
providing treatment, art therapy research with the mentally ill offender population has
been published in peer-reviewed journals (Gussak, 2004, 2006, 2007). As the research
base grows, art therapists may be able to integrate new findings into their work, and
administrators may incorporate more expressive arts therapists into treatment facilities,
and mental health professional. Whether interested in providing better mental health care
in order to more quickly and effectively alleviate symptoms for the patient or providing
patients with empirical evidence of effective treatments, the importance of research in
state hospitals is of high importance and deserves continued research. Lindqvist (2007)

advocated, “Further, it is suggested that the development of organized daily activities
over and above rehabilitation programmes should also be stimulated by government
funding” (p. 243). Discovering the most efficient ways to work with various populations
requires art therapists to record and examine the progress of their clients in order to build
a foundation for evidence-based practices. Nugent and Loucks (2011) would like to see
the arts therapies given more credit, as they have often been regarded as an “add-on”
rehabilitative program despite research that points to reduced recidivism in the
participating prison population (p. 356).
Current research provides evidence of successful expressive arts programs and
demonstrates that utilizing psychiatric services in conjunction with changes in the
system’s model can be financially beneficial. Gamble, Abate, Seibold, Wenzel, and
Ducharme (2011) stated that, “Overall, we confirmed an important principle of
psychiatric rehabilitation: Even when someone seems entirely stuck, either too afraid or
too comfortable to move, a person can change through exposure to other possibilities and
deliberate human attention” (p. 136). Future work in the field of forensic psychiatry and
the arts therapies will continue to help progress the treatment for the mentally ill offender
population. Art therapy alleviates symptoms of mental illness such as depression, anxiety
and stress (Gussak, 2009). However, although there is evidence that suggests art therapy
is an effective tool for offenders both with and without mental illness more research is
needed about the specific and efficient use of this tool. Furthermore, the idea that people
act in socially unacceptable ways is more than an antisocial symptom to be cured, it is
more of an explanation of how society is today. (Carpenter& Spruiell, 2011, p.375)
Continuing research is needed to solidify the foundation of understanding that expressive

therapy is a successful, efficient, cost-effective treatment for people with mental illness
(Patterson et al., 2011).

QI- Project: Assent to Participate
You are invited to participate in the quality improvement project titled A quality
improvement project with the Department of State Hospitals- Patton.
The intent of this project is to improve the quality of art therapy groups and to explore the
benefits and limitations of the ceramics studio.
Your participation will entail:
Pre-group cycle survey (2 questions).
Pre- and post- group mood rating each group for 12 groups.
Consent for the provider to take pictures of your art.
Mid cycle survey (4 questions).
Week 6 participation party (coffee, donuts, music will be provided)
Week 12 participation party (pizza, music will be provided).
Post cycle survey (4 questions).
In addition:
 Former knowledge about ceramics/ art is not necessary.
 You are free to choose not to participate and to discontinue your participation at
any time.
 Identifying details will be kept confidential. Your identity will be protected.
 Any and all of your questions will be answered at any time and you are free to
consult with anyone (i.e., friends, family) about your decision to participate.
 Participation in this project poses minimal risk to the participants. The probability
and magnitude of harm or discomfort anticipated in the research are no greater in
and of themselves than those ordinarily encountered in daily life.
 You may still participate in group, even if you do not wish to be part of the
project.
 I may present the outcomes of this study for academic purposes (i.e., articles,
teaching, conference presentations, supervision etc.)
My agreement to participate has been given of my own free will and that I understand all
of the stated above. In addition, I will receive a copy of this assent form.
________________________ ___________ ______________________ ___________
Participant’s signature Date Facilitator’s signature Date

Consent form: Department of State Hospitals- Patton
I, ___________________________________, do hereby give my consent
(Patient’s Name - Printed) to, (check all that apply), � Filming/Video Taping �
Photographing � Recording � Using My Name, for the purpose of:
__________________________________________________
I understand that have the right to discontinue my participation in the filming project at any
time by writing a letter to the Executive Director expressing my desire to discontinue my
participation. However all film footage shot prior to the request to discontinue participation
may be utilized. Also, I understand that no permission is granted for any other purpose than
those specified above.
________________________________________________________________________
Patient Signature (minor/conservatee: circle one if applicable)
Date:__________________________________________________________________
Parent/Guardian/Conservator Signature (If applicable)
Date:_________________________________________________
__________________________________
Witness Signature Date
I, the undersigned, Dr.__________________________________ am a clinical
psychiatrist/psychologist (Doctor’s Name – Printed) and have evaluated
__________________________________. In my opinion, the said patient is/is not
(Patient’s Name – Printed) capable of understanding this release form, which s/he has
signed, therefore this consent is/is not valid.
______________________________________________
Psychiatrist/Psychologist Signature Date
CONSENT FOR
PHOTOGRAPHS OR
FILMING
Confidential Patient Information
See W&I Code Section 5328
INSTRUCTIONS: Permission must be obtained from the patient or the conservator of the
adult, before a DMH state hospital patient may be photographed for any
purpose other than in-house identification, the patient is filmed for any
reason, recordings are made or name is used other than in the patient’s
record.
NOTE: THIS CONSENT MAY NOT BE USED AS A GENERAL CONSENT BUT
SHALL BE SPECIFIC TO EACH INSTANCE IN WHICH THE PATIENTS
IMAGE OR VOICE IS TAKEN FOR REPRODUCTION.

Questions for Week 1
1. Please tell me your past experiences with art therapy.
2. What would you like from this 12-week group?

Pre-group Feedback for Weeks 1-12
Rate your mood.
On a scale from 1-5, with a score of 1 = feeling very bad and 5 = feeling very good, how
are you feeling?
Very bad So-so Very good
1---------------------------2--------------------------3-------------------------4------------------------5

Post-group Feedback for Weeks 1-12
Rate your mood.
On a scale from 1-5, with a score of 1 = feeling very bad and 5 = feeling very good, how
are you feeling?
Very bad So-so Very good
1---------------------------2--------------------------3-------------------------4------------------------5

Survey questions for week 7 (mid-point)
Does attending the collaborative
open art therapy studio help you? Yes or No
(circle one)
If yes, please explain how.
If no, please explain how.
open art therapy studio
affect your rehabilitation? positively or negatively
(circle one)
open art therapy studio
affect your mood? positively or negatively
(circle one)
Why do you attend the collaborative ceramics art therapy studio group?

Final survey questions for week 12
On a scale from 1-5, did you enjoy the collaborative open art therapy studio group?
Not at all Somewhat Very much
1---------------------------2--------------------------3-------------------------4------------------------5
On a scale from 1-5, did you benefit from the collaborative open art therapy studio
group?
Not at all Somewhat Very much
1---------------------------2--------------------------3-------------------------4------------------------5
What benefits did you find as a participant in the collaborative open art therapy studio?
What would you like to improve about the collaborative art therapy studio?

References
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