Red Shoes Australia: when public art meets forensic science and becomes a movement for change

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ABSTRACT

Public art has long been recognized as a powerful medium for social and cultural expression, taking various forms and sizes across different settings. Generally designed for installation in public places, public art aims to engage the public by fostering participation, interaction, and critical thinking. One notable example is ‘Red Shoes Australia’, an adaptation of ‘Los Zapatos Rojos’ by Mexican artist Elina Chauvet. This installation features hundreds of pairs of red shoes in an iconic Australian public space, serving as a poignant memorial to the victims of domestic, gender, and family violence. First presented in 2022 as part of the Western Australian ‘16 Days in WA: Stop Violence Against Women’ campaign, the event was a collaboration with the Western Australia Museum and continued as an impactful initiative in subsequent years. Beyond its role as an art exhibition, the event seeks to emphasize the impact of forensic research and practice in combating gender-based violence and empowering victims with a scientific voice against their perpetrators. The confluence of art, and forensics, leveraging ‘The Red Shoes’, underscores that positive change in systems and society is driven by knowledge, education, strategic research, and the development of educational programmes and community services.

KEYWORDS:

• Community service
• forensic research
• gender-based violence
• science communication

Acknowledgments

Red Shoes Australia has been made possible through the dedicated efforts of numerous volunteers associated with the WA Museum Boola Bardip, the WA Museum of the Goldfields, the WA Museum of the Great Southern, the Goldfield’s Women’s Health Care Centre, the Southern Aboriginal Corporation, The PR Collaborative, Nuanced: Community Innovators and TransWA. The author extends heartfelt gratitude to Carla Shearman, Alec Coles, Marta Perona, Catherine Salmaggi, Gloria Moyle, Asha Bhat, Nicolas Castagnette, and Frances Thorton for their instrumental roles in bringing the exhibition, communication, and associated events to fruition. Special thanks are extended to everyone who contributed through donations, painting, or leaving personal messages in the shoes. The author expresses gratitude to the representatives of the Italian Consulate in Perth, Mel B, and the families of Jessica Bairnsfather-Scott and Hannah Clarke for their significant contributions. Appreciation is also extended to WA forensic practitioners and researchers, as well as the ANZFSS WA Branch, for their valuable participation. Finally, sincere thanks are offered to Elina Chauvet for sharing her vision and permitting the realization of her powerful artistic concept in Australia.

Disclosure statement

No potential conflict of interest was reported by the author(s).