Two paintings and a plaque identifying a water sculpture by the late prominent artist John Middleditch have been removed from Dunedin Hospital after a woman complained he sexually abused her as a child in the 1970s.
The grandmother’s complaint, revealed by RNZ, prompted another woman to come forward claiming Middleditch sexually abused her as a child in the late 1960s.
Now, the original complainant, who does not want to be named, has written to Police Commissioner Richard Chambers urging police to investigate Middleditch’s crimes in case there are other victims.
RNZ has obtained copies of nine convictions lodged against Middleditch in December 1976 for indecent assault on girls aged between eight and 11.
The court documents show Middleditch was convicted of attempted indecent assault on a 10-year-old girl for an incident in April 1976.
Middleditch was also convicted four times of indecently assaulting at least two girls aged 10, between 25 May and 20 August 1976.
He was also convicted of indecently assaulting an 8-year-old girl between 6 September and 13 October 1976, and an 11-year-old girl between 24 September and 5 October the same year.
Two other indecent assaults against another 10-year-old girl and another 8-year-old girl happened in October and November, respectively.
The Otago Daily Times reported at the time all but one of the victims were attending art classes at Middleditch’s home, in Heath St, while one was coaxed into his house on the way home from school.
Middleditch was convicted and fined $100 on each count and spared a prison sentence by a magistrate who accepted the 70-year-old was not in good health.
Middleditch, who was married to the artist Mary Middleditch, went on to create the large copper water fountain for the hospital which was donated in 1980.
Police also confirmed to RNZ Middleditch was convicted in December 1976 of indecently assaulting a girl aged between 12 and 16 and other indecent assault.
The complainant said at a meeting with Health NZ yesterday over the removal of Middleditch’s artwork from the hospital, she was told the prominent artist was also convicted of common assault on a woman in the 1940s.
RNZ has sought more details from Health NZ but the only other conviction against the artist located by the Ministry of Justice was one in the North Shore District Court in 1993 for careless driving, for which he was fined $150.
In her letter to Chambers, dated 1 March, the woman said she was not satisfied with the way police had handled her complaint late last year about Middleditch.
“I was sexually abused in 1972 by Middleditch, when I was 11-years-old, and had been chosen by my Intermediate School to attend specialist art classes with Middleditch.
“It is clear, just from the public evidence so far presented, that Middleditch’s offending was widespread, and occurred over a considerable period of time.
“It is highly unlikely that all of his victims, or survivors, have yet made themselves known.”
Last week police told RNZ it was unlikely they would take the complaint further.
“We can confirm police received a preliminary report of historical sexual offending, and while police remain in contact with the victim, a criminal proceeding is unlikely to be progressed against the alleged offender as he is deceased.”
The woman told Chambers her view was that police had a duty to protect New Zealand residents, not only to prosecute criminals.
She wanted to know:
- If police investigated whether there were other cases of offending by Middleditch;
- What further action police took in 1976 or any other time to establish how widespread his offending was;
- What – if any – warnings were given by police to institutions where Middleditch worked, especially where young people were involved such as schools;
- And what support police offered to victims/survivors of his offending in 1976 and up to now.
A police spokesperson said regarding any potential further victims or incidents: “Police would encourage anyone who has information about alleged offending, historic or otherwise, to come forward, so police can assess the information and help provide appropriate support if required”.
The woman first complained to the then Southern District Health Board in 2012 about Middleditch’s copper water fountain when she was confronted by it after returning to Dunedin to care for her dying brother.
“It’s been something that’s really sat heavily with me for the last 13 years.
“For survivors, one of the big issues is that no-one believes you so you know you’re basically silenced and that’s pretty much how it felt to me.
“That, you know, I was dismissed. I was told that I had no proof and basically the institution did nothing.”
She said she raised this at yesterday’s meeting with Te Whatu Ora Southern operations group director Hamish Brown and a member of the Dunedin Hospital arts committee.
The woman said she was expecting a formal apology from Health NZ, which called the meeting after RNZ made enquiries.
She hoped to have the fountain melted down and turned into a different piece of art to acknowledge the survivors.
The woman said the fact there was another alleged sexual abuse victim, who spoke anonymously to the ODT after hearing the story on the radio, was a huge relief to her.
“It was shocking in the sense that it was such a similar journey to mine but there was something about not feeling alone anymore.
“It felt like people had to take more notice because it wasn’t just me saying it. That was really important to me and it feels like there’s a huge weight been lifted from my shoulders.”
She said she felt terrible there were other victims but she hoped for herself and the other woman the validation lifted some of the grief.
The woman said she was frustrated with the views of some who’d spoken publicly in support of retaining Middleditch’s art, which included a painting of three naked women, under the argument the art was separate from the artist.
“We wouldn’t apply that to public figures who abuse children in other careers.”
She said to keep Middleditch’s art at Dunedin Hospital would go against the art committee’s reasons for having it there in the first place – to create a sense of healing and wellbeing.
“It was quite upsetting that yet again we’ve got people talking about what should happen, talking about us without us, and trying to push their own agenda without the involvement of survivors.
“So, survivors, yet again, are silenced and don’t have a voice and I’m pretty determined to make sure that doesn’t happen.”
rnz.co.nz
