Abstract
This article describes art curating with sexually exploited young people. It reviews The Cold Truth: an exhibition produced by CSE survivors at Radiant Gallery, Plymouth, UK, 2016. The article proposes that the quality of the art produced by young people can catalyse social and civic change through public engagement and service commissioner adoption; and a pathway to psychosocial recovery for participants. It examines the transformative power of the art object created during the intervention. The article draws on Frogett et al’s “Aesthetic Third” to propose artwork as a fulcrum between silenced children, and communities which avoid unpalatable truths. It proposes that artworks eliciting empathetic responses are more powerful than those stimulating sympathetic responses. It offers Matarasso’s indicators of great art as language to consider the quality of art created by children, and to advocate that service leaders and commissioners use quality art processes to design and deliver effective services.
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