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In 2023, the National Gallery of Ireland embarked on a transformative initiative that sought to bridge the gap between art, therapy, and social impact. At the Museums, Health & Wellbeing Summit, Brina Casey (Education Officer Community, Access & Health) spoke about the Gallery’s pilot cultural art therapy project designed to support women who have experienced domestic violence.
This innovative programme aligns with the Gallery’s broader strategic goals of reaching underserved and vulnerable communities, while also exploring the therapeutic potential of creativity in cultural spaces. For museum professionals worldwide, this initiative offers valuable insights into how cultural institutions can serve as civic spaces with tangible benefits for societal wellbeing.
The National Gallery of Ireland, home to the country’s national collection of European and Irish art, has long been a hub for inclusive programming. From accessible drop-in activities to deeply impactful long-term partnerships, the Gallery’s education strategy is built on a foundation of civic responsibility. A core focus of this strategy is connecting with vulnerable audiences and embedding the health benefits of creativity into its public programming.
In 2023, the Gallery’s major exhibition Lavinia Fontana: Trailblazer, Rule Breaker, curated by Dr Aoife Brady, celebrated the life and work of the groundbreaking 16th-century Bolognese artist. While the exhibition spotlighted Fontana’s artistic achievements, it also served as a launchpad for exploring contemporary social issues, particularly gender inequality and female empowerment.
Recognising an opportunity to extend the exhibition’s impact, the Gallery began conversations with its sponsor, Bank of America, in 2022. These discussions laid the groundwork for an ambitious pilot project: to provide cultural art therapy specifically tailored to women who had survived domestic violence.
Art therapy is a recognised form of psychotherapy that allows participants to express emotions, process trauma, and engage in self-exploration through creative mediums. Cultural art therapy, in turn, brings this therapeutic approach into cultural spaces like museums and galleries. Research has shown that such environments can provide unique benefits, offering participants a sense of connection to history, culture, and a shared civic identity.
The Gallery’s cultural art therapy project was developed with three guiding principles:
To deliver the programme effectively, the National Gallery of Ireland partnered with two key organisations: Andrea Plunkett, a registered art therapist with experience in domestic violence services, and Saoirse Domestic Violence Services, a leading charity supporting women and families across South and West Dublin.
Saoirse operates two refuges offering emergency accommodation and provides extensive outreach services. Their expertise was critical in ensuring the programme was sensitive, supportive, and impactful.
Andrea Plunkett, meanwhile, brought her specialist experience in art-based approaches for trauma survivors, facilitating both group and individual therapy sessions. Her role was pivotal in creating a safe space where participants could express themselves without the need for words.
The cultural art therapy project unfolded in several interconnected phases:

From the outset, the project included rigorous independent evaluation to measure impact and ensure best practices. Documentation was also a priority, with the Gallery collaborating with The Pimlico Project to produce a short video capturing the programme’s essence.
This careful approach ensured that participants’ experiences were honoured respectfully and ethically, while also providing a model for other cultural institutions interested in similar initiatives.
Preliminary evaluation findings suggest significant positive outcomes for participants. Women reported feeling welcomed, safe, and valued within the Gallery space. For many, weekly sessions became a rare opportunity for self-expression and respite from the challenges they faced.
Practical measures, such as providing public transport cards and lunch vouchers, played a crucial role in ensuring accessibility and participation. These seemingly small details significantly enhanced the overall experience, making participants feel seen and supported.
The CPD sessions for Saoirse and Gallery staff also emerged as a key success factor. Beyond equipping staff with tools for supporting clients, these sessions offered an important space for frontline workers to process their own emotional responses to their challenging roles.

For museum professionals, the National Gallery of Ireland’s cultural art therapy project offers several key takeaways:
The progression from sessions in Saoirse’s refuges to a closed group at the Gallery is an important part of this pilot’s design. It gave the partners more than one setting in which to introduce the programme, while transport cards and lunch vouchers addressed practical barriers to attendance. For another museum, the planning lesson is to work through that journey with a specialist support organisation and an appropriately qualified therapist, including the support staff need. The final friends and family session also shows how participants’ requests can shape the programme’s conclusion.
Mansfield Museum offers another domestic-abuse partnership, providing a further example of how cultural organisations can work with specialist services.
The National Gallery of Ireland is determined to build on the success of this pilot project. As the team continues to analyse evaluation findings and reflect on lessons learned, there is hope that this initiative will serve as a replicable model for cultural institutions both in Ireland and beyond.
For museum professionals seeking to explore the intersection of art, therapy, and social responsibility, this project provides a compelling example of what is possible when creativity, compassion, and collaboration align.
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Brina Casey from National Gallery of Ireland spoke at the Museums, Health & Wellbeing Summit 2024.
Manuel Charr is a journalist working in the arts and cultural sectors. With a background in marketing, Manuel is drawn to arts organizations which are prepared to try inventive ways to reach new audiences.
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