Art Psychotherapy. Vol. 1 pp. 7-12, Pergamon Press, 1973. Printed in the U.S.A.

A PSYCHOANALYTIC PROSPECTIVE TOWARDS THE

INTER-RELATIONSHIP OF THE CREATIVE PROCESS AND

THE FUNCTIONS OF AN ART THERAPIST*

ARTHUR ROBBINS

Graduate School of Art Education, Pratt Institute, ELrooklyn, New York

THE purpose of this paper is to attempt a synthesis of the experiences of Pratt Art Therapy students, and the psychoanalytic. knowledge that deals with the creative process. Furthermore, the author wishes to translate some of the psychoanalytic techniques that are directed towards an expansion and develop- ment of an authentic sense of self, and transpose these principles into a framework of an art therapy relationship.

Today one can find art therapists functioning in a variety of settings. He may be a member of a mental health team, or part of an educational institution. At times, community centers and reha- bilitation units employ an art therapist. The expec- tations and roies vary from setting to setting. Often, an art therapist is perceived as an educator; or, on the other hand, a psychotherapist. At times, art therapy is seen as offering a creative experience where the patient can learn new tools of communi- cation.

A larger trend seems to supersede the above. Traditional roles related to mental health are break- ing down. Ward attendants, teachers, occupational therapists, etc. are no longer limited by specified and we&defined duties and functions. indeed, what is emerging is a multitude of professionals who are being enlisted to approach the problems of mental health, and are gaining a new sense of professional identity in their quest to be a part of the creative process. Thus, a professional identity may be, in time, more connected to a humanistic and creative one that is concerned with the expression and development of each individual to his utmost and unique potential. The limitations of each practi-

*Requests for reprints should be sent to Arthur Robbins, Ed Education, Pratt Institute, Brooklyn, New York 11205.

tioner on this joint journey of discovery are contin- gent upon his or her personal capacity to see, hear, and respond in such a profound way as to further a liberating and expansive relationship. Within this frame of reference, as an art therapist, his effectiveness will vary according to the breadth and depth of his perceptions, as well as his capacity to handle and be responsive to a variety of stimuli and affects exist- ing both on a verbal and nonverbal level. Furthermore, ihe practitioner will become effective and productive only to the extent that he has integrated his artistic skills with an emotional and cognitive understanding of the creative process and how it is furthered. Thus, the first part of this paper will be concerned with connecting some of the psychoanalytic knowledge that currently per- tains to the development of the creative process. The second part will attempt to apply this knowl- edge within the context of an art therapy relation- ship.

Kris (1952) views the study of art as part of the study of communication. Within this context, the process of artistic creation is broken down into three distinct spheres: there is a sender, a receiver, as well as a message. The message, or the work of art, is in part similar to a dream: for one sees a multifaceted integration of a variety of psychic levels and structures encompassing an interplay of visual imagery and energy. This message is an invita- tion to a common experience in the mind, to an experience between artist and audience as they discover new depths of meaning to the world through the medium of the message.

Kris draws our attention to the ego of the artist.

D., Adjunct Professor of Art Therapy, Graduate School of Art

8 ARTHUR ROBBINS

The expression of regression in the service of the ego, with the concomitant implications of allowing fantasies to flood one’s very being in order to regain mastery, biings a crucial aspect of artistic creation into focus. Thus, the regulation of the ego and the individuals’s ability to bind energy, as well as to neutralize this potent source and channel it toward creative work, is the very essence of this thesis. Yet, this description often leaves much to be desired. We are, perhaps, more accurately dealing with a differ- ent orientation of life, with a whole set of attitudes, values, and responses that are divergent from a Western point of view. Central to a creative orienta- tion, therefore, may be a shift to a nonrational, paradoxical, ambiguous state of experience rather than a rational, goal oriented approach. In connec- tion with this shift, the individual seems to become much more in the grip of introjects with associated ego functions and energies that can shake the very being of a person’s existence.* These energies, if neutralized, may have the force of connectiveness, as they permit primary modes of communication to become intensified.

Any study of creative ability must include the whole area of nonverbal communication. Renee Spitz (1965) refers to this primary organization as co-anaesthetic organization. To quote this author, “Here sensing is extensive, primarily visceral, cen- tered in the automatic nervous system and manifests itself in the form of emotions.” Adults, he states, who have retained the capacity to make use of one or several of these categories of perception and communication ‘belong to the exceptionally gifted. But as Noyd (1968) points out, primary communi- cation is mutual, as communication is in general. Hence the specific pattern, he states, of communi- cation characteristics of early mother-child diads is modelled on a combination of two factors: those contributed by the mother and those inherent in the infant. Thus, the primary mode of communi- cation between mother and child can be one of looking, touching, cooing, or a combination thereof. This primary communication can be observed in a wide variety of relationships. This capacity, how- ever, to relate to these very subliminal cues, both from within and without, may be the source of the artist’s ability to see, hear, and experience the world with a sense of freshness and originality. Indeed, a highly developed sense of nonverbal communication

may enhance his ability to break through the often stereotyped barriers of verbal communication, as well as surmounting conventions in his quest, that has the honesty of a child who needs to be touched and, of necessity, must touch others.

In connection with this primary mode of commu- nication is the artist’s requirement for a belief and trust in his work. This condition can be observed in such relationships encompassing teaching, therapy, friendship, and marriage. The belief in the artist’s quest to express himself as a basic underpinning to his existence may be a prime requirement before he is ready to make the bridge connecting his message to society. Kris (1952) believes that one function of the audience is to relieve the artist’s sense of guilt. Another, however, may be an attempt by the artist to resolve his sense of separation and isolation, and gain unity with the universe through his work.

There has been a growing amount of psycholog- ical research in the area of creativity. Some of the most important work emanates from the University of California where Frank Barron (1968) has spent a considerable amount of time studying various groups of artists. The conclusions culled from his studies point to three major factors connected with creativity. An important point is that the artist seems to be concerned with complexity as con- trasted to simplicity; creative individuals seem to be able to discern complexity in whatever they at- tempt. Secondly, creative people seem to be more perceptually open and resistant to premature clo- sure. Thirdly, creative people rely on hunches and intuition. The implications of this research are far- reaching. Can we develop an environment that is conducive to the enhancement of intuitive or non- verbal communication? Furthermore, can the teach- er or therapist deal with the whole problem of premature closure with its concomitant anxiety re- lated to ambiquity? Hopefully, an art therapist may have the skill to address himself to these issues and many more.

What are the implications of this material to an art therapist? Significantly, an art therapist must have a highly developed understanding of the ego and its related processes as well as an intuitive understanding of nonverbal communication. In ad- dition, he must be able to harmonize and re-create a multitude of mother-child diads and be related to the specific imagery that this relationship brings

*This point of view has been amplified in an unpublished paper presented by Dr. Alan Roland at the 1st Theodor Reik Center Conference, May, 1969, New York City.

A PSYCHOANALYTIC PROSPECTIVE 9

forth. As a specialist in nonverbal communication, he should be able to empathize and resonate by, figuratively, putting himself in the other person’s skin. He mirrors and pictorially relates as well as graphically communicates through his body while utilizing the whole range of textural responses.

He must also have an empathic ability to swing with the ebb and flow of the various shades of psychic expression that are generic to this process. From time to time, he may relate as an ego support in order to set the stage for the release of neutral- ized energy associated with primary introjections which have been externalized through the power of a creative relationship. More important, he must be able to approach his work by experiencing the moment with a minimum of preconceived notions and attitudes. To put it succinctly, he must let something happen.

At times, an art therapy relationship seems strangely close to a love affair. This love affair may have some of the ingredients of a touching sweet- ness, or a piercing adoration, or, for that matter, a sublime blissfulness. It may well contain all the trusting qualities of an early mother-child relation- ship where the basic mode of communication is one of touch, or a subtle vision, or perhaps a sweet sound. The therapist’s response may be a reflection or a partial glimmer that is rarely verbally recog- nized. The words used would be graphic if not poetic. Object relatedness is often very secondary. In fact, in instances where the therapist attempts to push object relatedness, when and where the stu- dent is not ready, the spark or electrical generation may be absent in the atmosphere. As one establishes this intense mode of relatedness, the closeness- distance continuum must be constantly attended to. For some, a respectful distance is needed; for others, a touching closeness cannot be avoided. Thus, as the creative dialogue charters itself in the most primitive layers of psychic organization, the early fears of being swallowed, abandoned, or anni- hilated can easily be mobilized. Within the instinc- tual layer of a creative operation, there are strong cannibalistic urges that are sometimes neutralized but in other instances are all too close to their primary state. The student often needs the distance to constructively use this energy to capture and swallow his world, if only to send it forth with new meaning. For many, too great a closeness over- whelms the ego in its struggle for mastery or control. Yet, somewhere in the background, with

this undercurrent of relatedness he may have the courage to be what he is, brave the isolation of being with himself and work towards a message that has its own idiosyncratic stamp.

As the art therapy relationship is fostered, a touching adoration can develop. On other occasions, the narcissistic investment and omnipotence remains largely within the pupil as his work becomes, liter- ally, a highly cathected appendage of himself. In these latter cases, the therapist ultimately may become likewise an appendage. Determining the locus of the narcissistic investment is of prime importance in assessing the effective form of rela- tedness. On the level where he is but an appendage, the therapist’s ability to accept this role with mini- mal interference may be a prime condition in the determination of his effectiveness. Many a therapist cannot bear such an insignificant position and ex- perience a degree of narcissistic injury. In some instances, there is a forcing of object relatedness which can jeopardize the entire essence of the alliance. Where the investment is within the relation- ship rather than the work, the omnipotence of a therapist, as manifested by a glowing adoration, must be accepted with a minimum of counter- defensive maneuvers. For some, this can be experi- enced as a great burden. However, the art therapist can effectively use this relationship as a source of stimulation and a vehicle that has a quality of a protective cloak on the one hand using a gentle spur with the other. The identification process which may be introjective as well, is in and of itself not necessarily destructive. The determining factor, how- ever, will be whether the identification leads as a bridge for the student to find his own individual autonomy rather than ending up with a sterile caricature of his therapist. At times, the latter occurs when the therapist desires to maintain his position of power.

Involved in the creative process is a high loading of magical, omnipotent forces that both serve as a basis for keenly accurate perceptions, as well as a source of primitive fear and retaliation. The pupil may need a good deal of support in his challenge to the world as he occasionally displays a grandiose flourish and abandon. Yet, as he encounters appro- bation rather than punishment, the release of ten- sion may well serve as the basis for motivation to delve deeper in exploration and discovery.

Security is not always possible when there is a bombardment of stimuli on a student’s ego which is

10 ARTHUR ROBBINS

already too fragmented and disconnected. At times, a subtle restriction of stimuli may well give him the protection he requires. In contrast, others who are overly tight and rigid may need a certain degree of freedom and stimulation to loosen up the controls. Occasionally, the background of musical stimulation seems to break through the defenses and allow the connection to be made in the preconscious. On other occasions, the use of surprise or shock can have a catalytic effect.

The vulnerability to narcissistic injury can never be underestimated when one deals with the creative process. As he displays to the world part of his most primitive and naked self, direct and frontal confrontation can be experienced as an assault that does nothing but raise defenses and lower the communication in the creative dialogue. One may wonder, therefore, how the whole process of work- ing through an integration takes place, if one cannot criticize. To point out various avenues of explora- tion rather than to deal with the limitations of a work is a notion that every good teacher has in his professional equipment. To build rather than to tear down seems too obvious even to mention. Yet, all too often, one hears the mutilated accounts of aspiring artists, shattered from their learning experi- ence rather than reinforced in their conviction that they dared to be what they are.

Basically, the art therapist must be as in tune with an individual’s ego resources as with the under- lying layer of preconscious fantasy. To assess when a person’s ego integrative capacity has received maximum taxation, or when he needs encourage- ment to remain in the field of battle, is not always an easy chore. Thus, the act of forcing more control may increase resistance to the flow of preconscious materials. To learn how not to push, to let things grow, to be able to know when to walk away, to be able - once you have the inspiration - to build rather than to jump from one thing to another, are all parts of the ego techniques that the art therapist must have at his disposal. At times, there is too early a closure. Perhaps the accompanied anxiety to this lack of closure pushes the individual towards oversimplification. Together, through a mutual iden- tification, they may be able to face the paradoxes and inconsistencies and allow them to germinate until they come to a more complete unity.

Involved in the authentic relationship of patient and therapist is the ability of the art therapist to differentiate what is truly artistic and creative. To

discern the work that can stand alone, as contrasted to material that is in the service of exhibitionism or rebellion, is another important task of the therapist. As the therapist responds .accordingly to what is truly authentic, he may well help the student perceive the differences and be able to develop in the direction that is truly honest and direct.

On occasion, the student may have difficulty in going on and challenging new and different areas of exploration. It is often up to the art therapist to observe and deal with this occurrence. For often, there is a fear of letting go and dipping once again into the preconscious layer.

The sense of touch pervades all areas of artistic integration. One of the most sensitive issues, how- ever, is the actual physical “laying of hands” on the piece of work. For a few, the actual touching of the work can be experienced as a form of release. Often, one can be imbedded within the particular art form with a heightened degree of preciousness. To break this spell also permits the student to boldly strike out in new directions and not be a party to his own internal narcissistic restrictiveness. However, for some whose narcissistic investment is great, and where there is minimal separation be- tween the self and the work of art, the act of physical touching by the therapist can be experi- enced as wounding, if not debilitating.

Often a student’s perfectionism may well force him to come to a self destructive position. The work becomes his prison where he feels cut off and unrelated to his inner self. A therapist may well protect the student from this self destructive posi- tion by helping him to walk away from his work in order to approach it on another occasion with fresh eyes. Again, it is the art therapist who must be in

tune with the real rhythm of the artist’s message so that he can combat the self-destructive introjects that are mobilized as the student faces his audience.

Thus, the alliance with the good mother is made, fighting off fears of retaliation that, at times, are manifested through excessive perfectionism or keep- ing him steady as he may, on occasion, surrender to a depressive mode with its accompanying helpless- ness. The good mother in the art therapist encour- ages, protects, but also knows when to let go so that the person can capture his own sense of power. He also knows when to save the work, before the student has a chance to destroy it as a placation to a severe ego ideal.

The development of autonomy is not only of

A PSYCHOANALYTIC PROSPECTIVE I1

importance between student and his work but be- tween student and therapist. A therapist who is truly resonant with his student will be able to discern the process of individualization on the part of the pupil. As the latter develops, he may need less and less until, ultimately, he is ready to find new and different climates to explore. Yet, this breaking away can be very painful for both parties.

The beautiful sweetness, the sense of importance and power now must be relinquished. Often, a more realistic assessment of the strengths and weaknesses of the art therapist is made by the patient. Hope- fully, with an acceptance of the art therapist’s frailties as well as his strengths, there can develop on the part of the patient a more benign acceptance of his omnipotence as well as his human weak- nesses. For some, the giving up of these gratifica- tions is no easy matter. Both pupil and therapist may well want to hold on to one another after the relationship realistically has little to offer. The capacity for the therapist to recognize his wish to hold on will make all the demands on his maturity and depth. Involved in these developmental stages, the student may well be blocked from going fur- ther, angry at himself for not daring to face his real separateness, and caught up in an introjective battle that can only contaminate if not destroy his work. In these instances, one can observe a literal wrenching that may be the ultimate requirement for gaining freedom.

Involved in the technique of an art therapist would seem to be a highly sophisticated under- standing of introjective processes. As was mentioned earlier in this paper, enormous untapped energies are bound up with introjects that are stored deep within the recesses of the unconscious. As these introjects emerge either within the relationship or in the artistic product, there usually is a release of enormous energy that acts as an inspiration for the creative act. Thus, as the therapist sets the stage for a very early primitive relationship, introjects may be suddenly released with intense force. These intro- jects can be experienced by the therapist as literally possessing him as demons. The induced feelings associated with these introjects can encompass such affects as rage, despair, hopelessness, etc. These induced feelings, which are originally part of a parental or child self must be integrated and under- stood by the therapist in order to maintain the continual flow and release of energies. The acting out of these externalized introjects on the part of

the therapist could well cause a re-introjection and a re-creation of the original traumas. Thus, for the art therapist to have the strength of his own identity and still be able to foster a primitive union implies amounts of ego integrity. This is especially true when he is working with people who have extreme pathol- ogy. Thus, as the art therapist is able to combat these introjects in himself, he acts as a model for the patient to face some of his own primitive terror and gain mastery and release from an intrapsychic prison. As these conflicts originate from a very early basis of development, a nonverbal, felt experience of their genesis, rather than an intellectual or verbal response, is usually implied in the curative act. However, a theoretical conceptualization and a cog nitive understanding of this complex process is extremely important in contributing to a resolution within the art therapist so that he can maximize the effective use of his ego resources.

The artistic community is one aspect of the totality of this process that cannot be neglected. For the creative process may develop not only within one relationship but within the entire sphere that has as its cornerstones freedom, authenticity, and a feeling of communality. To feel and be touched by others who have equal contempt for conventional or stereotyped thinking may act as a protective bastion against the “other society.” For indeed, an institution or society is needed for the creative person where controls are built out of personal respect for one’s work rather than from concern for an extrinsic authority or role. Creative people need sources of identification where they can see others at work. Also, there is a need for an environment that is not captured by the conven- tional artistic mode of the day.

Today our society appears to have produced increasing numbers who are technicians with a high degree of information and competence. Equally important, however, is the development of the talent that can deal creatively with complex prob- lems that are part of a very complex society. Research seems to indicate that with more schooling and education, creativity in children is either cut off or destroyed. This may be a consequence of both the kind of teachers we have, as well as the institutions that demand conformity and a particu- lar kind of adjustment on the part of both teacher and pupil. Thus, the area that may ultimately prove most challenging, if not most fruitful, for art ther- apy may be in normal settings such as schools and

12 ARTHUR ROBBINS

settlement houses where child and adult can redis- cover a lost part of themselves.

REFERENCES

BARRON, F. (1968) The Dream of Art and Poetry, Psychology Today 2, No. I.

KRIS, E. (1952) Psychoanalytic Explorations in Art, Inter- national Universities Press, New York.

NOYD, P. (1968) The Development of Music Ability, Psychoanal. Study Child 23, 332-341.

SPITZ, R. A. (1965) The First Year of Life, International Universities Press, New York.