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By Lisa B. Moschini

This creative consultant offers paintings treatment innovations for tough consumers the place the common therapist-client interplay can frequently be far-off, not easy, and troublesome. supplying functional and theoretical details from a wide selection of therapy populations and diagnostic different types; and incorporating person, workforce, and relatives treatment case stories, the textual content is stuffed with examples and over one hundred fifty illustrations taken from the author’s 16 years of expertise operating with 1000s of consumers. the writer is an authorized Marriage and kinfolk Therapist with a Master’s measure in scientific paintings treatment. The textual content comes with an accompanying CD-ROM along with full-color photos and extra fabric no longer present in the publication.

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Extra resources for Drawing the Line Art Therapy with the Difficult Client

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When disk art duplicates figures shown in the book in black and white, the text callout notes this. 15 P A RT I DEFENSE MECHANISMS AND THE NORMS OF BEHAVIOR CHAPTER 1 In My Defense I n art therapy one accepts as basic to treatment the psychoanalytic mechanisms of repression, projection, identification, and sublimation (Naumburg, 1953). These mechanisms, used unconsciously, are incorporated to defend against feelings of anxiety that have become uncomfortable, humiliating, or shameful. Removed from the ego, experiences may be isolated, but they are never forgotten.

The client, thrown off guard, attempted to dismiss and minimize the group’s input. However, by stepping back from his defensive position and observing his own art production, he eventually spoke of his fears—without sermonizing, without bravado—just as a person afraid of a community that had not embraced him for numerous years. Yalom (1983) states: One elementary but important goal of the inpatient group is that patients simply learn that talking helps. They learn that unburdening and discussing their problems not only offers immediate relief but also initiates the process of change.

Yet who but the client can decide the path of therapy? Therefore, utilizing the art as the product of transference, the therapist gently questioned her. Her response to how the mortar and pestle fit with the image was dismissal; she didn’t know. This reply offered all that the therapist required. She was not ready to allow this intensely personal symbol to be explored— not directly, at any rate. ” In the office she followed through on her statement and slowly began to discuss the molestation with less intellectualization and more process.

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