The Hands of Egon Schiele

Through an exploration of Egon Schiele's life and enigmatic ?mannerisms?, which recall those of autistic children and schizophrenic patients, the author explores the impact his outstanding and disturbing paintings can have. The approach is biographical, revealing Schiele the artist as an already gifted though disturbed child. Some material refers to Schiele's way of expressing painful yet creative fantasies, in which different parts of his body (in particular his hands), projected into his paintings, form part of an intimate, creative, disturbed language. From childhood to his early death, Schiele used a coherent figurative language which was both realistic and oneiric; the author develops some ideas on art and psychoanalysis, particularly as to the creative process within a complex and disturbed personality. Working as he did between the psychotic and non-psychotic elements of his personality (Bion), Schiele is an appropriate artist for our time. His drama, his feelings of disintegration and ?dismemberment? are nourished by the creative, sane parts of his personality. The true psychotic artist is not entirely psychotic, for creation requires aesthetic taste and harmony.     

Enhancing the Creative Process in Couple Therapy

ABSTRACT

This paper reviews the literature as it relates to psychotherapy and creativity. The focus is on the creative process and the role of the therapist as “artist” in the practice of couple therapy. The theory on which the paper is based in problem-centered with influences from the writing of Satir, humanistic psychology and psychodynamic psychotherapy. The paper attempts to offer suggestions as to how therapists might enhance their innate creative ability when working with couples.     

Soup,Stitches, and Song

Abstract

This article discusses ways that clinical practitioners can utilize creative strategies in working with clients who are experiencing grief following the death of their adolescent child. It presents a brief literature review regarding this specific type of parental grief as well as practical and helpful ways to utilize books, songs, and tangible projects in the grieving process.     

The Divine,The Deviant and the Diabolical: A Journey Through An Artist's Paintings During Her Participation in a Creative Process Group: An Evolution of "Developmental Mourning"

Participation in writing and creative process offers a unique window to view the evolution of the mourning process. This study traces how a painter's work as shown to such a group reveals and interacts with her developmental progress as she goes through the mourning process in individual therapy with the author, who is also the leader of the writing and creative process group to which the artist belongs. Through these mutually beneficial exchanges, the patient is able to relinquish her constructed false self-identity for an authentic female identity, as seen in the evolution of her painting over her two-year participation in the writing and creative process group.     

The Anne Sexton complex

Abstract

From Sylvia Plath to Virginia Woolf and Anne Sexton, artists have identified with the downward pull of the creative unconscious toward death. Death appears in images of a sexual, mystical, or ecstatic union with the ghostly lover or mother. This paper explores an alternative creative model for women which does not lead to death, by documenting the case history of a woman artist who attempted suicide, but who lived to tell her story. The case history is written as a narrative both in the words of the author and in the words of the client.     

Creative surrender: A Milnerian view of works by Y. Z. Kami

Born in 1900, Marion Milner started psychoanalytic training in 1940, following a trajectory which took her into territory later developed by Winnicott. She was an independent thinker who drew on a variety of sources to explore her own and her patients' creativity. She linked the creative process to psychic health and to the ability to achieve a level of perception that leads not to the re‐creation of lost objects but to the creation of what did not exist before. By linking Milner's theory of perception to works by Y.Z. Kami, I draw parallels between a psychoanalyst's perception of the creative process and that process as described and executed by an artist. Milner's lens and Kami's brush both articulate thoughts and feelings about what it means to be human, the condition of mortality and, after Freud, the illusions that sustain mankind through the creation of the gods. This study looks at how the work of an artist and a psychoanalytic thinker can be mutually reinforcing and inter‐animating, thereby broadening and deepening the insights gained from both.     

Art in support of life: Caravaggio and the plague

In the struggle with COVID-19, art offered a way to face the solitude of the lockdown. The focus of this paper is primarily on Caravaggio’s painting The Seven Works of Mercy, with references to other paintings to amplify some aspects of the artist’s approach to life and his uniqueness in the artistic landscape of his time. Darkness was part of Caravaggio’s research for spiritual truth and by entering the stories of his life and exploring the tales told through imaginative expression in his paintings, it is possible to understand his process of exploration of ancestral darkness. The author uses her imagination to reflect on how art can help to contact the profound fears buried in the unconscious which are now being awakened by the pandemic. The contemplation of this painting facilitated the emergence of emotions related to the darkness of our time, with the discovery that empathy and mercy offer a way to come to terms with the pandemic. This approach demands a different understanding of reality with Caravaggio’s dark creative world becoming a companion that permits the exploration of what is not yet thinkable in daily life. Images accompany the author’s research that relies on her imagination and amplifications.     

Use of Bibliotherapy in the Treatment of Grief and Loss: A Guide to Current Counseling Practices

Grief is a complex and dynamic process influencing individuals of all ages. This article provides an overview of historical and contemporary constructs of grief counseling. Bibliotherapy, a creative counseling tool, is presented as an appropriate intervention when counseling grieving clients. Guidelines for using bibliotherapy with grieving clients are considered.     

“What If” Dimensions of the Analytic Field: Imagination,Object Vitality,and Psychic Growth

This paper considers the role of imagination in the context of Bionian Field Theory. Expanding on Hanna Segal’s idea of “what if” dimensions of the analytic process, it is argued that “what if” states engage evocative and vital aspects of objects. They set up particular tensions in the analytic field that trigger “imaginative work.” The processes at work share many similarities with the artist’s creative process. For this reason, William Kentridge’s reflections on his own creative process are used to elucidate “imaginative work” as an esthetic, creative and agentive process. Three case fragments are used to illustrate some of these ideas in the clinical setting.     

The Psychoanalysis Between Sándor Ferenczi and Elizabeth Severn: Mutuality,Unconscious Communication,and the Development of Countertransference Analysis

ABSTRACT

The psychoanalysis between Sándor Ferenczi and Elizabeth Severn was characterized by a controversial counterference analysis, in which the analysand, Severn, took an active lead. She can be seen as the co-creator of the Countertransference Analysis. In the two-person analytic dialogue that Severn and Ferenczi created to resolve the intractable therapeutic impasse in their analytic relationship, a dialogue of the unconscious emerged. Severn believed she was attuned to Ferenczi’s unanalyzed countertransference reaction to her. They had a special kind of relationship where attunement was at an unconscious level. In a sustained analytic encounter, she helped Ferenczi retrieve the experience of being sexually abused, which was the unconscious derivation of his negative countertransference to Severn.     

The Creative Space and a Place for Dance

How does a dancer become a world renowned leader of an experimental creative dance space? The influences leading to the development of the Margaret Jenkins Dance Company are many and include historical events, family background, mentors, and private intangible states of being. Creative collaboration, a prized modus operandi, honors working with multidiscipline artists. The creative process, with all its ambiguities and conundrums, is perceived as ever-evolving. The physical creative space reflects the times we live in as well as the growth and development of the artist.     

Creative ritual: Bridge between mastery and meaning

Many adults who have survived the death by suicide of one or both parents remain victims of unresolved grief responses far into adulthood. This is all too frequently true, despite years of psychotherapy and or/consultations with representatives of various religious persuasions. Adult survivors of childhood parental suicide require an intervention which bridges the psychotherapeutic issues of parental loss and the spiritual issues raised by a sucidal death. The use of creative rituals is just such a response. By linking psychodynamic and spiritual issues, while simultaneously providing a current experiential process, a creative mourning ritual blends the needs of the inner child for mastery of the parental loss and the adult needs for a spiritual/meaning response. Mastery and meaning can concomitantly evolve through the process of designing, and then enacting, a ritual of grief completion. This is particularly effective, since the ritual is designed by the survivor to meet that person's unique needs. This presentation is an example of just such a ritual and will also include a very brief outline for ritual design. This approach would be useful to anyone working with survivors as well as to survivors themselves.     

Out of Darkness: Reverberations of Trauma and its Creative Transformations

Traumatic experiences have a ripple effect, which continues throughout life and function as a powerful inner force that draws the survivor like a magnet to situations and events that allow him or her to work through pain; to give it shape, to release it, to express it to others, to make sense of it and to find some meaning in it. Self-expression through the creative arts can be one of the most effective means to healing. By externalizing what is experienced internally as overwhelming and fragmenting, and by fashioning it into a creative product, the artist brings the traumatic experience into the light of day for a new viewing. This enables reflection and integration of what is internally chaotic to be defined, mastered, and integrated into a coherent meaningful narrative. The artistic product, which can be shared with witnessing others, facilitates connection and fosters a healthy narcissism. The transformation of trauma into creative self-expression is illustrated here by an analysis of three generations of survivors—the author, her father, and her daughter—who each turned to the arts as a means of self-healing.     

Enacting memory and grief in poetic landscapes

Much geographical work has focused on sites of memory, where memories and grief are inherently tied to particular places, monuments and landscapes. Memories and grief can also, however, be spatially and temporally dispersed and fragmentary, creating landscapes in which things are simultaneously present and absent. In this paper I trace the creation of a memorial poem - a marwnad - for my great aunt, who lived her entire life on the margins of Cors Goch, a lowland bog in rural south-west Wales, as part of a long tradition in Welsh-language poetry. Like many Welsh marwnadau, the poem highlights spatial and temporal complexities of memory, emotion and grief. They are both inherently tied to shifting, ephemeral, fluid landscapes and politicised in changing regional and national cultural landscapes, speaking to challenges faced by rural communities and the changing geographies of the Welsh language. As well as reflecting the temporality and seasonality of site-specific memory and grief, the poem contributes to that temporality as memories resurface and intensify during composition and in subsequent personal readings. I discuss the place of such performative poetry in mapping grief and the implications of poetic grieving and memory-making for absence and presence and relationships with the landscape.     

Need for Uniqueness,Need for Cognition,and Creativity

This study examined two neglected dispositional contributions to creativity, namely needs for uniqueness and cognition. Multiple measures of creativity were used including an inventory of creative accomplishments, preference for complex visual figures (a measure similar to the Barron‐Welsh Art Scale), unconventional rather than popular word associations, and consensually‐assessed creative products. The latter included creative drawing, creative writing (a TAT story), richness of a photo essay about the self and the vividness of a recent dream. The predictors independently made significant contributions to creativity.