PTSD: Prisoners of the Past

Writer | Designer | Director | Performer | Producer

ARTIST STATEMENTBACK TO LOOKS

Artist Statement

“PTSD: Prisoners of the Past” is a sculptural fashion collection and musical production that addresses the emotional and psychological effects of sexual abuse on the mind and body through dress form.  The collection reveals how such effects can sculpt and fashion a victim’s identity and quality of life for years after the abuse.

Each look within the collection represents different reactions to traumatic experiences, such as symptoms of post-traumatic stress disorder and maladaptive defense mechanisms, that can paradoxically play a part in re-traumatization and re-victimization if these past experiences are never addressed; each look reveals the ways in which a victim can remain prisoner to their past as long as their story is not told, processed, and developed.  

Commenting on the pervasive denial of sexual abuse in our culture, the collection reveals the fundamental psychological effects that denial and silence has on its victims. Left up to the victim’s limited perception, combined with shameful victim blaming sociocultural messages around sexual abuse, sexual assault, and rape, the victim’s interpretations of these traumatic experiences often result in self-blame, shame, and self-hatred. These interpretations create the fundamental framework in which the victims view themselves and the world around them.  This framework feeds the narratives that they tell themselves repeatedly, and in turn, create the stories that frame their sense of self, identity, and fabricate their reality.

History is destined to repeat itself if denied and left in the shadows of the unconscious, further installing, penetrating, and procreating unprocessed traumas into future generations.  Furthermore, the collection warns its viewers of the cost and effect of repressing and denying one's past, foreshadowing the transmission of intergenerational traumas.

Healing Message

The healing message within this production rests in the dialectic nature of film as a metaphor. It proposes that freedom from the past lies within the very film that hold these prisoners captive.This concept presents a paradox for the victims who want nothing to do but to forget about past traumas and emphasizes the importance and significance in addressing the past and altering the narrative so that one may be free from the trauma and successfully reverse it's effects.

Engaging in a dialogue with each prisoner on the runway through her musical and spoken word performance, Tandy uncovers the latent paradox within each victim's negative framework and brings the destructive narratives to light. Encouraging each prisoner to use the process of photographic film development as a metaphor for healing, she sheds light on the pathway to freedom and lays out a template for the prisoners to follow. She proposes that the way out of the past is through it - in order to save, reclaim, and integrate the fractured parts of each prisoner that remain in frames by frames of traumatic experiences and provides healing narrative solutions to mix in during the trauma-exposure process.

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