By Lisa B. Moschini
This inventive consultant offers artwork treatment recommendations for tough consumers the place the common therapist-client interplay can frequently be far away, difficult, and problematical. supplying sensible and theoretical details from a large choice of remedy populations and diagnostic different types; and incorporating person, team, and family members treatment case experiences, the textual content is full of examples and over one hundred fifty illustrations taken from the author’s 16 years of expertise operating with hundreds of thousands 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 including full-color images and extra fabric no longer present in the e-book.
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Additional resources for Drawing the Line Art Therapy with the Difficult Client
Part I explores and illustrates select defense mechanisms designed to protect the individual from anxiety as well as examining the norms of behavior through comparison of the theories of Piaget, Freud, and Erikson. Furthermore, it reviews the use of fairy tales, myths, and fables within a therapeutic context. Part II focuses on the projective techniques of art therapy. Thus, it includes art therapy literature that has helped to systematize the analysis of drawings, a review of three art projective tests, exploration of assessment directives, a multipage listing of popular symbols, and case histories that illustrate how specific projective techniques are interpreted.
Thus, art therapy was introduced. ” The client had a multiplicity of color choices but decided to work with blue and minimally added red to the microphone. He did not offer any information about his creations, and the therapist did not question him about them. These early art therapy sessions were simply utilized as a holding environment, while the clay figures were utilized as transitional objects. 11 The Blue Man and the Butterfly In the second session the client retrieved his art production and proceeded to smash the background figure.
Beyond the obvious ego regression that institutionalization had created (this is discussed later in the chapter) not one person saw the “bars” as foreboding or related them in any way to their situation. These rationalizations were obviously necessary to the patients, for, as Malmquist (1985) states, “rationalizations and displacements are often required to maintain the intellectual position, perhaps because the defense is being challenged in discussion” (p. 58). Another example is taken from a mural drawing.
Drawing the Line Art Therapy with the Difficult Client by Lisa B. Moschini