The pressure on mental health services under late capitalism and how art therapy can help in the fight against the far-right: A conversation with activist and art psychotherapist Cat MacGregor
On a winter call, activist and art psychotherapist Cat MacGregor talks about building “third spaces” for collective care; from The Post Bar sessions that blur support group and art workshop, to a worker-led art therapy co-op trying to survive in London despite funding droughts, and an increasingly rigid mental health system.
Alastair: How did the art therapy open group on processing the rise of the far-right at The Post Bar go?
Cat: “Yeah, it was really interesting session. It’s different from ways I’ve worked previously, which was really engaging. We were doing one of these groups that blur the lines between an art therapy group or a support space. That’s something I’ve been thinking about in terms of the work I do, and how we navigate these different spaces and communities utilizing these third spaces and what comes up through that.
“We had a nice small group. It was a workable size. It was about 10 of us, in the end, it was quite fluid. It was great to have a mix of members, mix of backgrounds, mix of experiences, in terms of people who weren’t brought up in the UK. People who have immigrated here, and people from the UK.”
What themes surfaced in the room?
“I’m thinking about how to hold the confidentiality of the space, but still speaking to the kind of theme we had. There was quite a bit of sharing of experiences of navigating these conversations around xenophobia and racism, and what comes up in terms of microaggressions, or experiences of being othered, particularly by those who are not from the UK, and thinking about how that’s managed, or engaged with, the frustrations around that and the specific way that hits with British culture, as with wellbeing this very polite or backhanded culture with meaning not being overtly said, or things being alluded to.”
You mentioned anti-fascist organising came up too. What did that look like?
“It was interesting. Some of the participants were talking about having those kind of explorative conversations with people who maybe are on the far-right, and they were talking about that experience of engaging them. We got to think about the different positions people are in within our anti-Fascist movement. About who gets those kind of privileges to safely have certain conversations. That was quite an important conversation as well. It was very focused on how do we engage and how do we bring empathy.”
Can you give an overview of your practice and how you got here?
“I began training as an art psychotherapist about eight years ago, coming up to nine years ago. I came from an art background, went to art school and did the usual thing of, what on earth do I do with this? And where do I take this? I don’t know anyone in the arts. I don’t know how to navigate this, but I really wanted to be doing something that had social value.
“I was looking at a way of marrying those things, and for me, interestingly, the way it came together was I did some activism in the West Bank about 10 years ago, just before I moved to London, and I met a couple of art therapists there, who I ran some projects.”
What shaped your political approach to therapy as you trained?
“I got really lucky. I got to do one of my placements at a therapeutic community called Studio Upstairs, which is in Dalston, and it’s been going since the 30s. It was really born out of the anti-psychiatry movement, and thinking about mental ill health through a social lens, rather than the medical model. I found that to be a formative experience, and it really aligned with my politics and thinking.”
You’ve been outspoken about how the system pushes art therapy into rigid models. What did you see in public services?
“After I qualified, I found myself in these jobs in the public sector that were just utterly gruelling and really disempowering. A lot of art therapy work, particularly in CAMHS, which is the Child and Adolescent Mental Health Services, where most of the jobs are, have been bastardised into becoming these CBT roles, and in some jobs they’re now making art therapists do mandatory CBT training.
“So they’re really trying to turn all of the mental health services into this homogenous block. It just was a way of working that I couldn’t really comply with for very long.”
And in the charity sector, did it feel different?
“So I went to work in the violence against women sector. I got to practice in a way that was much more aligned with myself as a practitioner, but also with my politics, but the scarcity of resources meant that there was so much of what I felt as exploitation, a lot of poor management and really very toxic work environments. I think a lot of people I know who work in charities experience the same things.”
You’ve worked with grassroots organisations too. What’s that work, and what are the barriers?
“It’s a community run charity started in response to the Grenfell Fire disaster, that’s like a very small charity. The problem we have there is a complete lack of funding and an ongoing, complicated dynamic with the local authority.”
Is that what pushed you toward founding a workers’ co-op?
“I guess all these experiences were what led to thinking about setting up a workers cooperative and trying to find a new way of doing things. To attempt to create a new way of working. I was looking for a way of working outside of exploitation, because I couldn’t find any models where that [exploitation] doesn’t become a part of it, where you’re not having to really sacrifice a big part of who you are as a practitioner and as a worker.”
Tell me more about TAT, what it is, and what you’ve built so far.
“The co-op that I set up with two other art therapists, we call it TAT, but it’s The Art Therapy co-op. We set that up a bit over four years ago now. We set up our own space where we’re doing a mixture of private practice work and voluntary work. It feels like we’re very much on a journey. Literally, I’ve had a meeting with someone for a space so I think it might be finally becoming a reality.”
You shifted the co-op’s model toward worker support. What does that look like in practice?
“So we started setting up these sessions called ‘not a workshop’ and that was just to have an afternoon of open art making and being together, and they’re open to anyone who works in the charity sector or public sector, education, care, paid or unpaid. We call it people supporting others in unsupportive environments.”
You also ran an alternative art therapy conference. What were you responding to?
“The British Association of art therapists have a conference, but it’s like £200 to £250 pounds to go for a day and sit in the Wellcome Collection. It's just so unattainable. So we decided to set up our own one. We did that this year. We had about 50 attendees, which was our max. We were sold out. We did an open call out, with lots of responses to facilitate different sessions using the unconference model. It was great and so empowering.”
Your work is explicitly political, and you argue that art keeps the “mystery” intact. Can you explain that?
“All things are political, and hold politics within them, whether we engage with it or notice it. It’s always there and we are unable to remove it.
“Thinking about the brain as some sort of computer system that you just need to enter the right codes into, which is a really unmagical and a kind of depressing way to be with the sheer complexity and mystery of what it is to be human.”
How does that link to the anti-far-right work you’re developing?
“My thinking about that group in particular came out from my own personal experience as an activist. The experience that I had on the anti-Unite the Kingdom demonstration. I was really feeling this experience of being at this tipping point where they [the far-right] were in control of London that day.
“It did ignite these responses in me about the experience of fear and needing a space to process the emotional impact of this. What happens to the emotional life of all of us as individuals who are having to carry this burden? There’s so much to despair about, and it can feel so relentless. How do we keep that fight going and that longevity that’s needed.”
Finally: what’s on the horizon for you and the co-op?
“Next year we will keep going with our unconference and developing that to be a bigger one. Also, hopefully finding a space to become our home. I’m also looking at setting up a workers’ assembly.
“The system doesn’t want us to exist, and it’s pushing us down and trying to morph us into something else. How do we create work outside of that system? Because we know the need is there. We are just going to have to do it ourselves. Community is the only way. Trying to build a secure base, because we need to get to the point of having a secure base so that we can steady ourselves and brace for the storm.”
