Art, Psychotherapy and Psychosis
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Art, Psychotherapy and Psychosis reveals the unique role of art therapy in the treatment of psychosis. Illustrating their contributions with clinical material and artwork created by clients, experienced practitioners describe their work in a variety of settings. Writing from different theoretical standpoints they reflect the current creative diversity within the profession and its links with psychotherapy, psychoanalysis, analytical psychology and psychiatry.
In part I specific issues involved in working with psychosis are explored. These include discussion of the therapeutic relationship, the process of symbolisation, the nature and meaning of art made by psychotic patients and the interplay between words and pictures. Part II recounts the history of art therapy and psychosis, tracing its origins in art, to its present-day role as a respected treatment in psychiatric, community and therapeutic settings.
Art, Psychotherapy and Psychosis extends the existing theory, develops analytical approaches in art psychotherapy and offers innovative perspectives for students and practitioners on the treatment of borderline states as well as psychosis.
there could be a therapeutic ‘partnership’ between psychotherapists and artists of many kinds. She invited painters, sculptors, potters, dancers and musicians to work with her at Withymead (Champernowne 1971; Stevens 1986). Among these were two artists who played prominent roles in the formative years of art therapy as a profession, Rupert Cracknell and Michael Edwards. In the early 1960s she took an active part in creating BAAT. The fact that Jungian ideas played such an important part in these
indicate some coded or private language. Wittgenstein (1953:94) discusses how a private language is pointless; like the right hand giving the left hand money, the transaction is without symbolic meaning. The picture may be like this. In failing to communicate it reveals the inability to make meaningful links. As a transactional object it reveals the 22 Art, psychotherapy and psychosis repetitive activity which apparently leads nowhere. The state of the patient may be self-absorbed, circular
true that in therapeutic practice many of the creative forms arise from the depths of the psyche—a place where the universal experience of all mankind also originates. This is true particularly of the psychotic patient whose ego has already been flooded with images and experiences; overwhelmed quite often by archetypal patterns, and thus deprived of the simple human ways of living and loving. Creative expression which is recognised and called Art is often the result. A psychotic patient may
constituted madness. Although the influences acting upon art therapists in this second period were rich ones it is still difficult to find substantial descriptions from that time, of what art therapists actually did when working with people in the midst of a psychosis. Again, I feel the need to add that I think actual accounts of this work have not commonly been made by any profession in any period. However, it is possible to identify a cluster of attitudes to the work from the implications of
Mental Health Services and the Public, London: NAMH. Radnor Commision (1908) ‘Report of the Royal Commission of the Care and Control of the Feebleminded’ London: HMSO. Romme, M. and Escher, S. (1994) Accepting Voices, London: Mind Publications. Schaverien, J. (1991) The Revealing Image: Analytical Art Psychotherapy in Theory and Practice, London: Routledge. ——(1995) Desire and the Female Therapist: Engendered Gazes in Psychotherapy and Art Therapy, London: Routledge. ——(1994) ‘Analytical art