Schema-focused therapy emphasises identifying and changing maladaptive broad, pervasive beliefs about ourselves, others, and the world. Schemas develop during childhood and are elaborated throughout our lifetimes. The goal of DBT is to reduce ineffective behaviours linked with disregulated emotions. A skills-based treatment, DBT teaches four modes of therapy: mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness.
Skills generalisation then helps clients integrate the skills learnt into real-life situations. Eye Movement Desensitisation and Reprocessing is an integrative psychotherapy approach to assist clients overcome symptoms associated with post-traumatic stress disorder. Fax: 07 Jennifer Rees Brown. MY experience. About Jennifer. Jennifer treats Depression and low mood Anxiety, including health and environmental anxiety Post-traumatic stress disorder PTSD Obsessive compulsive disorder OCD Adjustment disorders Grief and loss Stress management Chronic pain management Self esteem and identity issues Inter-personal communication issues Loneliness and isolation.
Why Telehealth? How it works. Evidence-based therapies used. Cognitive Behaviour Therapy CBT is based on the premise that our thoughts cognitions influence our feelings and behaviours, and that subsequent behaviours and emotions can influence our cognitions. Mindfulness Mindfulness-based practices involve training the brain to pay attention in a particular way: on purpose, in the present moment, and non-judgmentally.
Schema-Focused Therapy Schema-focused therapy emphasises identifying and changing maladaptive broad, pervasive beliefs about ourselves, others, and the world.
The concrete surfaces feature coloured designs referencing the incredible array of colours and patterns these frogs display. The eyes are detailed polished concrete domes, the essential element in bringing this cheeky character to life. The front legs are made of powder-coated steel pipe. For the more adventurous, the other way up is via a series of climbing grips, fixed to the concrete body.
This frog king also wears a crown, which doubles as a safety barrier, preventing access to the nose of the frog and directing the flow down the slide. This is also made of powder-coated steel pipe. The whole structure can accommodate numerous children climbing over it at any one time. It encourages a range of sensory responses and physical challenges. The handlebars essentially function as a swing. The rear supports are the forearms of the frog, which rise up from the buried elbows to reach the hand grips at a maximum height of around mm.
They are however non-climbable to prevent any unintended access to the top of the swing. The swing is a proprietary nest swing, which can accommodate several children at once. The final element is the front wheel, an oversized recycled rubber tyre from a haul-pack mining truck.
At approximately mm diameter, the tyre is buried half-way in the ground. The intention is for kids to be able to climb over, under and through it. All structures and elements of this design meet the Australian Standards for playgrounds AS This project presented a cohesive family of interactive works that appear at various locations around the school. As it was an existing school being re-developed, there was a long and varied history associated with the area. We addressed themes of Aboriginal co-existence with the environment, as well as European Market gardening heritage.
We chose this amazing plant not only because of its many useful qualities that were particularly valuable to traditional aboriginal people, but also because of its incredible resilience to the effects of time and bushfire. The Grass Tree is a strong symbol of renewal and new growth, a metaphor for the redevelopment of the school.
The artwork is not a literal representation of the grass tree, but an investigation into aspects of its life cycle and qualities of different parts of the plant, a deconstruction if you will.
The intention was to engage kids in their own experience of interpreting both the artwork and the plants themselves. Various elements of the work included a 5m rusted Corten steel column as the central spear, which was adorned with colourful painted aluminium abstract flowers and plasma-cut designs. Surrounding this was a series of bright green grass tree stalks, made of painted steel square tube. These represent the new growth that emerges from the top of the burnt stump after a bushfire.
Sitting further out on the circle is a set of three colourful polished concrete seats that represent segments of the grass tree trunk. Other locations around the school feature more grass tree stalks, in combination with polished concrete seats which reference various fruit and vegies from the market gardening era.
The students participated in workshops, cutting up and drawing market produce as a resource for these artworks. Linking all of the works around the school is a meandering trail of concrete pavers, featuring artwork designed by the students which investigates the rich history of the area and a connection with the natural environment. This artwork is an iconic and emblematic monument to Port Hedland, reflecting the essence of Pilbara life.
Standing at 8m high, it is made of reinforced polished concrete and industrial-coated steel. The use of these contrasting materials references the transformation from raw iron ore to processed steel. The concrete element represents the red earth and minerals of the Pilbara, and includes a content of iron ore aggregate. It features the contour lines found on a topographical map or in the gorge-like valley of an open-cut mine.
In stark contrast, the steel element has a sleek shiny surface with a modern industrial aesthetic. It presents a fluid forward-surging movement of speed and progress into the future. The hard-edged shadows cast by the steel section onto the lower half of the ring, further highlight the contrast in the nature of the two materials and their shapes. These two forms are linked and intertwine in what appears to be a continuous revolving wheel, from the earth to the processed material, and back again.
The inner surface of the concrete curve is embellished with a series of small recessed motifs that meander across the surface like a dry riverbed. These are a collection of symbols referencing various aspects of Pilbara ecology, history and culture.
These motifs are subtle, like footprints in the sand. They document the passing of life, and its tenuous struggle to survive in this harsh environment. They are contrasted not only to the futuristic steel form above, but also to the modified landscape they traverse, and remind us of the delicate balance of life, both past and present.
The project involved significant collaboration with various stakeholders in Port Hedland including BHP Billiton, Cultural development officer, landscape architect, local contractors, structural engineer and lifting design engineer.
There are three major components to this project. The first piece is a freestanding entry statement sculpture. It consists of two separate parts. The base is made of reinforced limestone concrete, ground to a smooth terrazzo finish. It features seashells and local aggregate and sand in the mix.
This supports an aluminium structure above it, which is exactly the same shape as the base, but held in the inverse position, locks perfectly into it. The upper piece is made of 6mm marine grade aluminium plate, which was rolled and welded into a spiral form.
It features cut out fluid shapes, reminiscent of a nautilus shell. The finished piece stands at a height of 2. The second component to this project is a series of hexagonal concrete paving blocks, each bearing the same tessellating interlocking spiral motif. One half is a limestone mix with shells and rainbow quartz. The other half is blue metal and pea gravel aggregate with a dark blue oxide.
They have been ground to a coarse terrazzo finish to expose the aggregate.
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