Beyond the Blame: Photographer Jayne Jackson on her social justice exhibition Asking For It at the National Justice Museum.

Can you tell our readers a bit about yourself and the kind of art you create?

I'm a documentary photographer and activist increasingly engaged with social issues, using photography to drive positive change. Much of my work focuses on breaking stereotypes, advocating for greater visibility in areas such as boys in ballet, and addressing issues like victim-blaming in cases of sexual assault and violence against women and girls. I also champion the importance of creative arts in education. Ultimately, my work is about empowerment - giving a voice to those who need it most.

Where did the initial inspiration for the ‘Asking for It’ series come from?

I’m often asked this question, and there are two answers: a short one and a complex one. The short answer is that I read a newspaper report about a young woman whose underwear was repeatedly held up in court as evidence against her, leading to her alleged rapist’s acquittal. She later took her own life. As a mother of two daughters and as a woman, I was horrified that, even now, victim blaming remains so entrenched in our justice system. The story haunted me, and I knew I had to address this issue through my work.

The more complex answer is that, like many women and men, I’ve experienced harassment and have encountered stories of sexual assault and victim-blaming throughout my life. I reached a point where I felt that if my art wasn’t making an impact, it was merely aesthetics. As compelling as purely aesthetic photography can be, my priority is to create work that drives meaningful change.

How has it been exploring such a relevant and current issue from a historical perspective?

I’m so glad I took this approach because it highlights how victim blaming is an inherited societal issue - it has always been there, just in different forms. When you look at it through a historical lens, it becomes obvious how the narratives have shifted but the fundamental injustice remains.

For example, growing up, I often heard the phrase ‘red shoes, no knickers’. Historically, red has been a symbol of sexualization and shame - think of The Scarlet Letter or the social rule that women shouldn’t wear red to weddings. When working with the National Justice Museum and speaking with survivors, one woman shared that she was never allowed to wear red because her abusive partner saw it as ‘inviting male attention’. Even years after making the initial work - that moment made me realise the depths of how, even in modern contexts, women’s choices continue to be policed and judged. The myths may change, but the way we police women’s behaviour has not changed enough not - and that must change.

Can you tell me about the process of dating the photos?

I used heritage photography techniques, ensuring that the methods aligned with what would have been used at the time. I worked with wet plate collodion processes, medium-format cameras, and period-specific film types.

Each image contains subtle clues that something isn’t quite right, intentionally prompting the viewer to question them. I love that people spend a long time in the exhibition, engaging not only with the stories but also with the technical aspects of the photographs. This creates a space where people can process an emotionally complex issue in a way that isn’t overwhelming.

We assume the people in the photos are models… What can you tell me about the other people involved in the process?

Most of the people in the project are models, though many had a personal reason for wanting to be involved. This issue affects everyone, and the line between models, actors, and survivors blurs because the stories they portray are universal.

One participant, Rio, was a serving police officer who had already made her story public. We incorporated that into the project in a way that empowered her, allowing her to transition into activism after being let down by the legal system.

For many survivors, seeing their experiences reflected in art provides validation, closure, and a sense of activism when legal justice isn’t an option.

What message are you hoping people will take from these photos?

Victim blaming is ingrained in our society from childhood. These biases become subconscious and affect decision-making, particularly for jury members in sexual assault cases. By prompting people to recognise and re-frame these patterns for themselves, we can dismantle harmful narratives and encourage more empathetic responses to victims.

One thing I didn’t anticipate was the profound impact on survivors. I’ve had people in their seventies tell me, after spending time with the exhibition, “I get it now - it was never my fault.” Seeing that weight lift from a person's shoulders is the single most powerful outcome of this work. I can't express that in words.

What are your thoughts on ‘Asking for It’ being displayed in the National Justice Museum?

I am absolutely thrilled that the National Justice Museum is hosting this exhibition. Their team has been incredible - passionate, dedicated, and deeply engaged with the project’s mission.

The museum’s involvement has led to incredible community collaborations, including bystander intervention workshops with young people and a wonderful creative writing project with survivors, co-led with poet Leanne Moden. The museum is not only presenting this community work alongside my original series, and offering interactive features for the public to engage with, they are also creating a virtual reality version of the exhibition. This in itself is exciting, to ensure the message reaches an even wider audience and can be used for further educational outreach and societal impact.

I would very much like to extend heartfelt thanks to everyone at The National Justice Museum, Leanne Moden and the women and team at Broxtowe Women's Project. 

Be sure to catch Jayne Jackson’s Asking for It at the National Justice Museum between Monday 31 March - Sunday 13 July 2025.

nationaljusticemuseum.org.uk