Beyond the boat (1)

A p h o t o g r a p h i c / s t o r y p r o j e c t f o r A s y l u m S e e ke r s
b y A n n a At h e r t o n & D e a n G o l j a
C O N T E N T S
° F o r w a r d
° S t u d y s e s s i o n 1 #
A n a l y s i n g p i c t u r e s
° S t u d y s e s s i o n 2 #
L a n d s c a p e & S t r e e t
° D o c u m e n t a r y :
A n I r a n i a n l u n c h
° F i e l d t r i p j o u r n a l
° E x h i b i t i o n
° A r t i c l e : W a v e o f H o p e
° A c k n o w l e d g m e n t s

"Beyond the boat" is a journey beyond asylum.
The work represents the personal attributes of ﬁve refugees seeking asylum in Australia.
Each person arrived on a boat, and after spending time in a detention centre, are now housed in the community whilst they
await the outcome of their visa applications.
This project provides insight into why these people risk their lives, and the lives of their families to journey to Australia.
Through the collection of images and words, we get to know who they are, and their hopes for acceptance in a new society.
One that is free from persecution and offers safety.
The course has been funded by donations provided to The Salvation Army who have been contracted by the Australian
government to house and support asylum seekers who are deemed vulnerable.
Dean Golja, Photographer & Teacher and Anna Atherton from The Salvation Army worked to create an enriching course in
photography and storytelling. The result is a unique collection of images taken through the eyes of the asylum seekers. It
demonstrates wonder and awe as almost all of the group have never left their country and speak little English.
"Beyond the Boat" is a true journey from a group of people who have risked everything, leaving behind their lives and families
to seek safety in a foreign land.
ANNA ATHERTON
F O R W A R D

In
the
ﬁrst
mee+ng

with
the
par+cipants
we
introduced
them
to
the
idea
of
the
course
and
then

undertook
a
brief
portrait
session
followed
by
looking
pictures
and
talking
about
photography.
The
par+cipants
selected
some
images
and
described
their
thoughts
and
feelings.
Marta
selected
a
photograph
taken
in
1947.

A
group
of
children
are
in
a
childcare

centre
set
up
for
factory
workers.

She
likes
the
look
on
the
children’s
faces
and

wants
to
be
able
to
work
with
children
to
make
a
diﬀerence
to
their
lives.

Marta

would
like
to
see
the
Opera
House
and
photograph
nature,
insects,
especially
bees

using
natural
light.
S t u d y s e s s i o n 1 # - A n a l y s i n g p i c t u r e s
M A R T A

Reza
chose
a
monochrome,
documentary
image
which

shows
a
self
assured
momentary
expression
from
a

cowboy
.

Reza
likes
the
naturalness
and
strength
of
the
image.

“The
fact
that
it
is
a
real
person
in
a
real
environment”.

Reza
is
most
aKracted
to
documentary
style
shots
and

wishes
to
photograph
gardens,
fruit,
sLll
life
images,
and

insects.
R E Z A

S E Y E D
A
photo
of
an
indigenous
mother
and
child.

He
says
“the

way
the
light
falls
means
that
the
mum
is
in
darkness
and

the
light
is
shining
on
the
baby”.

He
feels
that
this
depicts

the
way
women
are
pushed
aside
once
their
children
have

grown
up,
and
that
the
spotlight
is
then
on
the
children.

Seyed
would
like
to
take
photos
of
people.
Seyed
is
from
Iran.

His
passion
is
iron
sculpture.

He
has
many
images
of
pieces
he
has

constructed
at
home.

He
says
it
is
impossible
to
make
a
living
as
an
arLst
in
Iran
so
he
is
a

qualified
electrician.

Seyed’s
qualificaLons
aren’t
relevant
in
Australia
and
he
is
hoping
to

undertake
the
necessary
study
to
become
qualified
here
if
he
is
accepted
as
an
Australian

resident.
He
has
a
keen
interest
in
photography
and
has
been
experimenLng
portraiture
taken
from
his

camera
phone.
Seyed’s
English
is
almost
perfect
and
he
interprets
the
communicaLon
between
us
and
the
rest
of

the
group.

A I D I NAidin
worked
in
women’s
fashion
in
Iran.

He
has
a
good
command
of
English
and

enjoys
helping
the
other
parLcipants
with

communicaLng
during
the
course.

He
loves
fashion
and
fashion
photography.
Aidin
chose
a
fashion
photograph
with
a
very
regal
look

to
it.

He
loves
the
strength
of
the
main
character
in
the
image

and
the
way
the
lens
fades
out
the
dog
and
the

background.

He
thinks
the
way
the
light
falls
on
the
character
is
very

beauLful.

Aiden
would
like
to
learn
modeling,
fashion
photography

and
portraiture.

MOHAMMED
Mohammed
is
a
history
teacher.

Through
language
translaLon,
it
is
easy
to
see
that

he
is
a
deep
thinker
and
has
an
extraordinary
use

of
words
when
he
is
describing
images.

Mohammed
sees
the
world
so
much
more
deeply

than
most.
Mohammed
chose
a
photograph
of
a
cathedral
in
South
America.

He
says
that
the
columns
in
the
building

show
stability.

The
light
is
cleansing.

“In
our
ancient
culture,
sunlight
brings
cleanliness
and
our
ancestors
in

Iran
once
worshiped
the
sun”.

Mohammed
would
like
to
learn
more
about
landscape
photography.


S t u d y s e s s i o n 2 # - S t r e e t & L a n d s c a p e p h o t o g r a p h y
We
organised
some
local
excursions
to
work
in
two
complimentary
genres:
Street
photography
was
used
to

concentrate
on
spontaneous
moments
and
Landscape
photography
aimed
for
a
more
formal
approach
to

depic+ng
nature.
ABer
a
computer
edi+ng
and
correc+ng
process
each
par+cipant
was
asked
to
respond
to
a

selec+on
of
images.
Mohammed
–
It’s
a
comparison
between
two

different
lives
–
the
young
and
old.
The
child
wants

to
find
someone
strong
to
rely
on.

The
old
man
is

very
busy
and
he
forgets
about
the
little
girl.

It

depicts
the
passage
of
life
where
the
older

generation
forget
what
it’s
like
to
be
young.

The

darkness
on
the
right
depicts
the
unknown
angles
of

life.

Aiden
–
The
man
is
being
careless
about
his

grandaughter
whilst
on
his
phone.

Rezza
–
It
reminds
me
of
old
movies
like
Alfred

Hitchcock
films.
Marta
–
The
parents
of
the
girl
are
at
home
and
the

grandad
is
talking
to
the
parents
on
the
phone.

They
are
asking
if
the
daughter
is
ok
and
she
is

telling
them
that
she
is
fine.
Seyed
–
The
depiction
of
two
generations.

A
young

girl
who
wants
to
have
new
expriences
and
an
old

man
who
is
stable.

She
is
moving
and
he
has

stopped.
Lines
surround
us
all
the
time,
laws
and
limitations.

image
by
Mohammed

image
by
Aidin
Aiden
–
The
birds
are
well
positioned.

The
red

thing
in
the
top
left
corner
is
a
coke
bottle.
Seyed
–
It
is
very
beautiful.

The
place
is

mysterious
and
unknown.
There
is
darkness
at
the

end
of
the
picture
and
we
don’t
know
what
is

behind
that.

Mohammed
–
This
is
the
sign
of
life.

It
has
a

special
beauty
by
mixture
of
green
and
white.
The

birds
feel
free.

Everyone
of
them
is
doing

something
freely.

Marta
–
The
first
bird
has
a
white
shadow
on
the

water.

It
wants
to
mention
to
people
that
you
are

polluting
my
home.

It
highlights
the
rubbish
for
us.

Saying
it
is
yours,
not
mine.

Rezza
–
It
is
a
nice
environment
for
those

creatures.

They
look
very
relaxed
and
I’m
very

happy
with
that.

Rezza
–
I
was
thinking
about
my
farm
in
Iran
when
I
took
this
and
a
beautiful
sun
setting
with
green
places.

Mohammed
–
It
is
the
colour
of
death.

We
can’t
have
an
exact
date
for
it.
It
could
be
anywhere
or
any
period
of
history.

The
water
reflects
death
like
a
dark
mirror.
Grasses
are
related
to
life.

A
passage
through
life.
Seyed
–
I
feel
calm
with
this
picture.

It
is
very
mysterious.

I
can’t
guess
what
is
behind
that
picture.

I
don’t
know
what
is

at
the
end
of
the
river.

I
just
look
at
it
and
feel
calm.
Aiden
–
There
are
variations
in
colour.
The
light
is
quite
dark.

The
lines
touch
together
at
the
end.
Marta
–
It
looks
like
a
very
beautiful
afternoon.

It
is
very
calm.

image
by
Reza

Exploration
of
a
promised
land.

Sitting
on
the
edge
of
the
bank
depicts

the
waiting
of
not
knowing
if
this
will
be

my
new
home
or
not.
Waiting
patiently,
watching
life
on
the

other
side
of
the
water.
Marta
–
I
have
such
a
good
feeling
about
this

photo
because
my
husband
is
happy
and
in
a

green
place.
Rezza
–
It
reminds
me
of
a
special
light
in
the

morning
that
rises
up.

Some
lines
of
trees
are

shining
because
of
the
angle
of
the
light.

The

colour
of
light
should
be
a
mixture
of
yellow

and
green.

I
feel
really
good
about
this

picture.
Aidin
–
I
love
the
background
with
the
dark

green
mixed
with
light
green.
There
are
no
straight
lines.

The
water
on
the
left
is
dark.

Seyed
–
The
man
is
waiting
for
something
in

nature.

He
is
very
patiently
waiting.

Look

again
to
nature.

It
could
be
very
ordinary
to

many
people
but
to
this
man
it
is
not.

Mohammed
–
I
just
want
to
say
one
sentence.

“A
hunter
was
hunted
by
another
hunter.”
image
by
Dean

Seyed
–
There
are
two
birds
on
the
bag
and
the
mother
and
son
are
like
two
birds.

The
son
is
doing
his
own
thing.

By
pushing

the
stroller
the
Mum
is
saying
“you
grow
up
but
I
continue
to
care
for
you”.
Mohammed
–
I
think
that
pram
has
another
owner
who
is
not
in
the
shot.

Some
bags
are
in
that
pram
and
it
is
not
in
the
right

place.

Everything
has
a
special
owner
and
we
have
no
right
to
use
things
for
other
purposes.
Marta
–
I
have
looked
at
that
picture
many
times
and
the
day
that
picture
was
taken
it
was
very
hot.

It
was
too
hot
to
be
wearing

that
scarf.

I
want
to
express
a
different
way
of
living.

I
believe
that
by
wearing
this
type
of
clothes
she
wants
to
make
her
God

happy.

But
God
doesn’t
care
about
clothes.

He
cares
about
heart.

Our
behavior
is
very
important
to
God,
not
clothes.
Rezza
–
We
have
special
ceremonies
in
most
moslem
countries.

Green
is
a
holy
colour
in
these
countries
and
by
wearing
green

you
are
demonstrating
your
faith.

Red
is
the
opposite.

Bad
people
wear
red
and
good
people
wear
green.
Aidin
–
This
picture
reminds
me
of
my
mother
and
me.

It
makes
me
sad.
I
miss
my
Mother.
image
by
Seyed

MARTA, REZA
& FIZA
AN IRANIAN LUNCH
Reza
and
Marta
are
a
farming
family
from
Iran.

They
have
a
7
year

old
daughter
(pictured),
and
a
14
year
old
son
in
Australia
with
them.

A
grown
daughter
who
is
married
with
children
lives
back
in
Iran.

They
have
been
married
since
Marta
was
15.

In
Iran,
they
were
part

of
the
flourishing
pomegranate
industry.

They
speak
so
fondly
about

the
landscape
and
things
that
they
did
back
home.

Marta
speaks
very
little
English
and
Reza
speaks
almost
none.

They

wished
to
have
the
group
over
to
their
house
for
a
traditional
Iranian

lunch
and
the
following
is
a
documentary
account
of
this
occasion.
images
Dean
Golja

F i e l d t r i p j o u r n a l
In
the
ﬁrst
class,
Dean
showed
a
selec+on
of
images
he
has
taken
over
the
years.

They
were
selected
to
include
many
places
of
historical
signiﬁcance
in
and
around
Sydney.

We
progressed
to
talking
about
the
origins
of
this
country,
it’s
landscape
and
the
people.
Soon
aBer,
each
par+cipant
was
asked
to
select
the
place
they
would
most
like
to
visit.
The
following
is
a
brief
visual
journal
covering
these
excursions.

F i e l d t r i p j o u r n a l - B o t a n y B a y

F i e l d t r i p j o u r n a l - B o n d i

F i e l d t r i p j o u r n a l - O p e r a H o u s e

F i e l d t r i p j o u r n a l - C o c k a t o o I s l a n d

Life
is
very
simple
here.

With
liberty
you
can
choose
your
own
life
in
Australia;
you
can
change
the
shape
of
it,

personalise
it.

Back
in
Iran,
I
had
no
future
and
very
bad
depression.

I
really
miss
my
Mum,
brothers
and
sister.
During
the
photography
course,
I
concentrated
on
a
different
way
of
looking
at
certain

subjects
–
even
ordinary
things.

SomeFmes
I
believe
that
things
change
just
by
seeing
them

in
a
different
light.

My
dream
is
to
have
a
new
life,
a
new
family.

I
would
like
to
study
management.

I
would
like
to
conFnue
to
do
my
photography
and
learn
to
make
films.
A I D I N

We
had
to
leave
our
country
because
we
became
ChrisFans
six
years
ago.

We
were

threatened
and
tortured
because
of
our
beliefs.

It
broke
my
heart
that
people

abandoned
us
and
I
was
very
lonely.
I
have
no
desire
to
have
my
own
house,
car
etc.

A
strong
dream
for
me
is
about
my

children
and
their
future.

The
character
of
them
to
me
is
more
important
than
their

job.

Their
morality
–
being
truthful,
faithful
in
God’s
way.

I
am
trying
to
lead
them,
to

help
them.
I
am
a
believer.

I
would
like
to
work
in
a
Church
and
give
service
to
people
in
Church.

I’d
like
to
give
people
hope
about
forgiveness,
about
the
kindness
of
Jesus.

During
this
course,
the
photography
itself
was
not
that
important
to
me.

The
situaFon

was
important.

People
were
asking
quesFons
about
me.

They
gave
me
the
opportunity

to
have
an
educaFon.

They
respected
me
in
a
humane
way.

The
group
was
going
to
the
Opera
House
and
I
didn’t
want
to
go
but
when
Dean
came

to
pick
up
Reza,
I
was
impressed
because
of
his
kindness
to
me
and
I
changed
my
mind.
People
here
don’t
judge
other
people.

When
a
lady
is
talking
to
someone
else,
no
one

judges
you.

In
Iran
it
is
unusual
for
women
to
talk
to
strangers.
Women
here
have
an
easy
life,
they
can
study
in
university
or
college.

In
Iran
if
a

woman
has
children,
she
has
to
raise
them
but
here
you
can
do
both.

There
is
more

Fme,
more
chance
to
do
something
for
your
self.
This
is
a
friendly
group
that
I
will
never
forget.

I
found
new
experiences
about
other

people
because
they
were
talking
about
themselves
and
I
learnt
more
about
other

people
and
about
life.
M A R T A

As
I
was
a
teacher,
I
thought
of
Australia
as
a
very
vast
country
with
two
races
of
people,

aboriginal
and
whites.

I
felt
there
would
be
hope
and
safety
here.

Now
I
believe
my
soul
has

been
damaged
because
I
spent
17
months
in
the
detenFon
centre.

The
hardest
thing
was
to

hear
that
my
brother
had
died
and
there
was
nothing
I
could
do.

I
was
stuck
and
felt
very

depressed
for
a
long
Fme.

Even
now
my
memory
is
so
bad
because
of
that
experience.

Some
of
my
friends
have
passed
away.

I
leX
too
many
memories
behind
about
my
childhood,

everything.

Some
nights
I
see
in
my
dreams
that
I
am
walking
in
the
street
in
my
homeland.

During
this
course,
I
found
friendly
people,
kind
people
and
nature.

I
lost
nature
in
the

detenFon
centre.

It
reminds
me
of
some
memorable
experiences.

I
am
looking
forward
to

seeing
mountains.

I
used
to
love
hiking.
I
would
like
to
tell
Australians
that
you
are
a
great
naFon,
a
great
people.

You
help
me
with

your
smile,
your
hope
and
you
are
very
friendly
people.

I
thought
English
people
someFmes

were
racist
but
I
have
not
found
that
to
be
the
case.

I
would
love
to
understand
the
aboriginal
culture.
To
touch
their
culture
and
have
close

contact
with
them.
My
dream
is
to
be
calm
but
this
is
diﬃcult
to
achieve.

MOHAMMED

The
most
important
thing
is
to
firstly
have
freedom.

Freedom
to
look
at
the
world

in
a
different
way.

As
we
did
in
this
course,
we
were
able
to
look
at
people
with

freedom.

That
was
remarkable
for
me.
At
that
moment
when
I
leX
and
got
on
the
boat,
I
cut
all
roots
with
my
country,
my

family,
my
books,
my
friends,
my
relaFves.

I
had
been
receiving
threats
for
two

years.

I
had
to
let
the
government
know
what
my
thoughts
were
all
the
Fme.

They
would
tell
me
what
to
think,
what
to
say
and
if
I
didn’t
live
their
way,
I
would

be
threatened.
In
this
course
I
have
been
learning
how
we
can
see
ordinary
things
in
different

ways
with
different
angles
and
in
different
definiFon.

With
photography
you
can

show
something
very
usual
in
an
unusual
way.
Our
arrangement
to
see
places
was
very
clever
because
we
had
such
a
variety,

people,
buildings,
trees,
sea.

I
have
great
appreciaFon
for
this.
My
dream
is
to
be
an
arFst.

I
would
love
to
work
with
sculpture.

Back
home,
there
is
too
many
red
lines
to
cross
for
freedom.

Here
people
respect

achievement.
Australians
are
the
friendliest
people
I
have
met.

I
only
have
the
words:
thank
you

but
this
does
not
express
the
graFtude
of
what
I
feel.
S E Y E D

My
dream
is
to
be
a
good
farmer
again
and
to
grow
pomegranate
as
I
did
in
Iran.
Also,
for
my
children
to
gain
educaFon
and
to
grow
in
this
way.
It
was
hard
to
get
on
the
boat
and
escape
persecuFon
because
it
was
my
homeland,
my

farm,
my
garden.

I
had
a
big
one
ﬂoor
house
and
a
garden
in
front
of
that
and
a
very
big

trees
all
around
the
yard.
During
the
photography
course
we
visited
many
new
places
including
a
farm
and
the
bush.

That
was
very
nice
for
me.
It
gave
me
hope
and
inspiraFon
because
when
I
was
visiFng
some
places
it
reminded
me

of
my
homeland,
my
grass,
my
trees.
I
was
saying
to
myself
that
there
is
now
hope.

There

is
another
opportunity
to
have
another
way
to
live.
Even
in
Iran
I
wasn’t
in
the
city
too
much
because
I
love
the
countryside.

All
the
Fme
I
am

thinking
about
farming,
even
when
I’m
sleeping.
I
hope
to
have
a
valid
visa
and
start
to
work
soon.
R E Z A

A r t i c l e - b y P e t e r M u r p h y. W r i t t e n a s a r e s p o n s e t o t h e e x h i b i t i o n o p e n i n g .
A
Wave
of
Hope
It
was
called
“Beyond
the
Boat,”
but
it
was
beyond
anything
that
I
have
ever
seen.
Each
day
we
hear
and
read
about
the
ever
–
increasing
flow
of
people
desperate
to
seOle
in
Australia
and
start
a
new
life.
But
somehow
the
constant
daily
exposure
seems
to
dull
our
sensi+vi+es,
some+mes
to
the
extent
that
there
is
a
tendency
to
hear
it
as
background
noise
–
“white
noise.”
Last
night
was
different
as
the
real
face
of
these
“faceless”
people
was
exposed
here
in
Redfern
and
with
it
the
ar+s+c
talents
fostered
by
the
generosity
and
dedica+on
of
the
Salva+on
Army
and
its
vision
for
hope.
This
was
a
sobering
experience,
where
professional
photographer
Dean
Golja
and
Salva+on
Army
Producer
Anna
Atherton
coaxed
the
most
amazing
results
from
the
cameras
of
people
who
perhaps
even
as
recently
as
a
year
ago,
had
liOle
chance
of
being
able
to
expose
their
ar+s+c
ability.
We
are
always
being
posed
the
ques+on
“What
is
art?”
And
there
it
was
around
us
last
night,
in
the
form
of
disparate,
carefully
composed
photographs,
depic+ng
ordinary
scenes
and
ordinary
people,
but
providing
a
glimpse
of
a
new
beginning.
All
of
these
photographs
were
taken
by
refugees
who
arrived
by
boat
from
Iran.
People
who
had
risked
their
lives
and
the
lives
of
their
children,
to
reach
out
for
the
chance
of
a
new
beginning.
There
was
Marta,
whose
previous
life
in
Iran
was
as
a
hairdresser
and
her
Husband
Rezza,
a
farmer.
With
their
2
children
A’med,
now
a
teenager
of
14
and
their
7
year
old
daughter
Faza,
they
risked
everything,
escaping
in
a
small
ill
-‐
equipped
boat
to
reach
Australia
by
way
of
Indonesia.
I
can
only
ponder
the
hardships
that
they
must
have
faced
and
the
constant
threat
of
discovery
and
almost
certain
death,
if
their
plans
had
been
revealed
before
they
got
away.
Their
faces
–
especially
their
eyes
-‐
have
a
dullness
that
bespeaks
of
a
deep
distrust
as
they
flounder
in
a
net
of
bureaucra+c
red
tape,
as
impenetrable
as
that
of
the
bulging
net
containing
fish
depicted
in
the
photograph
taken
by
Seyed,
another
of
the
group.
Seyed
speaks
good
English
and
as
the
others
crowd
around,
he
translates
my
ques+ons
to
Marta
and
her
family
and
their
replies.
They
all
have
bridging
visas,
but
like
a
cat
plays
with
a
mouse,
there
is
no
certainty
that
the
bureaucra+c
process
will
deliver
what
they
need
–
Permanent
visas
to
allow
them
to
remain
in
Australia
and
lead
normal
lives.
And
this
is
the
point
of
the
project
–
to
turn
their
focus
from
their
troubles
and
their
uncertain
plight
and
unleash
crea+ve
forces
that
have
long
been
subdued
in
the
flight
to
freedom.
I
am
introduced
to
Aidin,
his
dark
hair
and
reddish
beard
framing
a
strong
looking
face.
But
his
eyes,
behind
his
brown
framed
glasses,
have
no
light
in
them
and
his
smile
is
forced.
“Last
week
his
father
died,
but
he
was
unable
to
get
there...”
I
am
told
by
Seyed,
“He
waits
like
we
all
do
....”
It
is
an
interminable
wai+ng
game
and
yet
there
is
no
game
being
played
out
here.
Pain
is
everywhere,
but
the
hope
of
this
photographic
project
is
to
give
them
something
else.
I
ask
the
Salva+on
Army’s
Paul
Moulds,
who
gladly
poses
with
the
group
of
refugees,
how
he
feels
about
this
project,
just
one
of
many
being
supported
by
the
care
and
love
of
his
organisa+on
for
brothers
and
sisters
less
fortunate
than
us.
“It
is
something
that
we
are
very
proud
of,”
Paul
tells
me
as
he
points
to
the
photographs
depicted
around
the
room,
“it
provides
an
outlet
for
these
people
who
have
very
liOle
in
life
at
present.”
Standing
beside
Paul
and
photographer
Dean
Golja
and
seeing
the
images
surrounding
me,
I
feel
humbled
and
inadequate
that
others
have
taken
up
the
challenge
and
seen
the
good
in
these
ordinary
families,
some
of
whom
have
experienced
physical
torture
and
excrucia+ng
pain,
but
all
of
whom
have
sacrificed
everything
for
their
belief
in
freedom.
This
montage
of
ar+s+c
talent
is
proof,
that
as
the
saying
goes,
“Where
there
is
life
there
is
hope”
–
as
long
as
they
can
extricate
themselves
from
the
suffoca+ng
noose
of
Red
Tape
that
threatens
to
deprive
them
of
their
liberty.

ACKNOWLEDGMENTS
With
great
thanks
to
the
Asylum
Seekers
who
had
the
courage
to
share
their

stories
and
diligently
attend
the
course
to
improve
their
ability
to
assimilate

into
Australian
life.

It
was
a
pleasure
to
get
to
know
these
humble
and

gracious
people
whose
needs
were
that
of
any
normal
Australian
seeking
a
life

of
protection
for
themselves
and
their
families.

Thanks
to
Major
Paul
Moulds
from
The
Salvation
Army
who
has
the
foresight

to
see
the
therapeutic
outcomes
of
artistic
programs
for
marginalised
people.
A
big
thank
you
to
the
case
workers
Shaun
Tupea
and
Fiona
Lakos
who

assisted
and
encouraged
the
participants
throughout
the
course.
With
all
they

have
to
cope
with,
they're
so
lucky
to
have
you.
Thank
you
to
the
staff
from
Head
On
Photo
Festival
and
107
Projects,
Redfern

for
your
interest
and
support
with
the
exhibition.
Finally
-‐
unending
thanks
to
Dean
Golja
who
changes
lives
by
sharing
his

talent
in
photography
with
people
who
would
otherwise
not
have
access
to

learn
these
skills.
It
is
a
gift
which
gives
lasting
confidence,
skills
and

friendship
to
people
at
the
darkest
times
in
their
journey.
Anna
Atherton
The
Salvation
Army

Beyond the boat (1)

Recommended

Recommended

More Related Content

What's hot

What's hot (10)

Similar to Beyond the boat (1)

Similar to Beyond the boat (1) (16)

More from mario samachetty

More from mario samachetty (9)

Beyond the boat (1)