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Above: Dora Derado Giljanović, PhD — art historian, curator, and founder of art&, Croatia’s first systematic art therapy initiative

Dora Derado Giljanović, PhD, is an art historian and cultural strategist devoted to democratizing art through her company DLightful Services, where she works at the intersection of art management, artist coaching, curating, and cultural strategy. Her latest initiative, art&, is Croatia’s first systematic program connecting contemporary art with mental health support. Launching with multi-venue exhibitions, free art therapy workshops for all ages, and a cutting-edge virtual gallery, the project blends practice, research, and accessibility into a new model for cultural healing. Grounded in Dora’s academic expertise and passion for breaking down barriers to art, art& demonstrates how art can move beyond galleries to become a tool for resilience, self-understanding, and community care.

What first inspired you to create art& and bring art therapy into Croatia’s cultural institutions?

The spark came from a simple observation: in many galleries, visitors look confused, intimidated, or politely bored. That’s not art’s fault—it’s how it’s presented. Reading Alain de Botton and John Armstrong’s Art as Therapy was a turning point. They suggest organizing museums by emotions rather than historical periods: imagine galleries of hope or healing instead of “Renaissance.” Croatia has strong artists and institutions, but no bridge connecting art to everyday emotional life. Art therapy exists in small pockets, but never systematically. art& was born to change that—showing art not just as something to admire, but as a tool for understanding ourselves and navigating life’s complexities.

The project combines exhibitions, workshops, VR, and research. How did you arrive at this multidisciplinary model?

Experience showed me single-approach projects rarely create lasting change. To democratize art, you need multiple entry points. The exhibition is the visual anchor, with works chosen for therapeutic potential rather than art-historical weight. Workshops transform passive viewing into active creation. VR ensures access beyond geography or physical limitations. And research makes sure the project is taken seriously, validating its impact and making it replicable. Each element feeds the others: participants see their workshop experiences echoed in the exhibition, digital visitors contribute to research, and data validates the model.

Why hasn’t Croatia had systematic art therapy programs until now?

It’s partly institutional inertia and the belief that art is a luxury. Healthcare, education, and cultural institutions here operate in silos, making interdisciplinary collaboration rare. Research exists, but it often stays in academic journals, out of reach of policymakers or practitioners. art& seeks to translate this research into practical, accessible applications. There is progress—new curricula, local initiatives, and growing interest among art therapists—but none take this broad, interdisciplinary, and global approach.

What will the free workshops look like in practice?

Think less “art class” and more “emotional archaeology with creative tools.”

Sessions begin with guided viewing of artworks exploring universal themes—loss, joy, anxiety, hope. Participants then respond through painting, collage, sculpture, or digital media. The focus isn’t on producing “good art,” but on using creativity for self-understanding. Facilitators include licensed art therapists and artists who balance technical and emotional knowledge. Crucially, workshops connect with the exhibition. Participants create responses that enter into dialogue with professional works—showing that personal reactions are as valid as curatorial interpretations.

The VR gallery is a fascinating element of your project. How do you see digital access expanding the reach of this initiative?

The virtual gallery rethinks how art exists in space. Physical venues face limits—location, hours, accessibility, intimidation. The VR space removes these barriers. Rural residents, people with mobility issues, or international visitors all get equal access. And it’s not just a copy of a physical gallery. Digital space allows for impossible experiences—floating works, interactive transformations, environments that respond to viewers. Artists can create specifically for VR, pushing new boundaries. Most importantly, it stays open permanently, extending the project’s life well beyond the physical exhibition.

What role do artists play in the therapeutic process?

Artists have long acted as emotional specialists—translating inner experiences into forms others can share.

In art&, they’re not asked to be therapists, but conscious collaborators in producing work that can serve therapeutic functions. Some embrace healing themes directly, others contribute through honest exploration of human experience. Guided by frameworks like de Botton’s seven functions of art—remembering, hope, sorrow, balance, self-understanding, growth, appreciation—artists create works that meet emotional needs while retaining artistic integrity. The magic is when a visitor sees their own struggles reflected in an artwork. Suddenly, they’re not alone. Curatorial texts act as prompts—not dictating interpretation, but encouraging reflection.

art& is described as replicable. What would that look like elsewhere?

The framework is adaptable, not prescriptive. Each community must shape it to its culture, resources, and needs. The structure – exhibition, workshops, VR, research – remains, but content changes. Germany might use different traditions than Brazil or Japan. What matters is accessibility, collaboration, and evidence-based practice. We’re documenting not just what we did, but why, so others can adapt. The virtual gallery especially lends itself to global collaboration: imagine a network of art& projects sharing resources, or a worldwide virtual exhibition and healing space.

You’ve emphasized academic rigor. What kind of research do you hope to publish?

I’ve already presented case studies with art and occupational therapists at an international conference. Since I’m not a therapist myself, I’ll continue partnering with licensed professionals while contributing art-historical and curatorial perspectives. We plan mixed-methods research: tracking quantitative outcomes (stress reduction, mood improvements, engagement) and qualitative responses (participant stories, long-term impact, institutional learning). Publications will address interdisciplinary art therapy, digital spaces in therapy, and cultural-institutional collaboration. By publishing in both art and therapy journals, we can bridge communities that rarely interact. This rigor protects against “art-washing” critiques and proves that the model creates measurable impact, making it more likely to influence policy and secure sustainable funding.

Beyond measurable outcomes, what do you hope participants take away?

Permission: permission to be imperfect, to feel deeply, to value their own emotional responses to art. Freedom to approach contemporary art like a song – personally, openly, without fear of “getting it wrong.” I hope participants see emotional difficulty not as a flaw, but as something to integrate.

Our works don’t promise solutions, but companionship in complexity.

That recognition, that you’re not alone, is often healing in itself. On a practical level, I want them to leave with a toolkit for emotional self-care through creative expression, whether they continue making art or simply view art differently.

How has your academic background shaped art&?

Art history taught me to see artworks as cultural documents, but also showed me how scholarship can become disconnected from lived experience. Curatorial practice trained me to shape spaces and narratives that guide audiences on emotional journeys. This expertise was vital for designing both physical and virtual components of art&. It also lent credibility with partners and funders—arguments for art’s therapeutic role carry more weight when backed by a PhD. Most importantly, my research background taught me to test assumptions and build evidence. art& isn’t based on wishful thinking about art’s healing power—it’s a systematic exploration of how it works and how it can be best applied.