The possibilities inherent in the creative process

The possibilities inherent in the creative process

The creative process contains many possibilities for personal expression, self-development and creating change

The possibilities inherent in the creative process are many, including personal expression, self-development and creating change. In the initial sensory game with the various materials, the authority and freedom are allowed to test and try to touch, be intrigued and experiment. Winnicott described the boy involved in the game as having an understanding that he was engaged in something important. The ability to concentrate in the game heralds the beginning of the ability to concentrate on thought and action.

The child experiences the feeling of omnipotence ("I did") and at the same time he is surprised by what he discovered by chance, from the outside. The game moves between two boundaries that the caregiver must navigate the possibility of having the game between them: on the one hand, a sense of tension out of a prohibition against getting dirty, on the other hand, the danger of emotional flooding (Winnicott, 1971; Luria, 2002).

According to Sha-Shpilka's model, there are three sensory layers in the creative processes. First, any casual touch to the material: action, rhythm, making sounds, or placing a hand on any material will evoke varied feelings sometimes without any conscious intention. In the second layer, how the material is used can lead to the creation of some form, image or symbol, and these will lead to different feelings. The third layer refers to the feelings experienced through the nature of the organization of space in the work. The various actions in space will support sensory integration. Sensory experiences in art are echoes of early sensory experiences in infancy; Those for whom no adapted meaning has been created, or whose early meaning has been destroyed as a result of a traumatic experience. Art allows for a new connection experience to meaningless sensory experiences. The creative processes function as a container for internal content that is difficult to contain and process. Working with the material in a variety of emotional ways enhances the ability to carry several experiences simultaneously, creates a change in feelings and contributes to the restoration of the mental envelope and sensory integration (Sha-Shpilka, 1998).

The possibilities inherent in the creative process with different art materials

When working with wet materials, for example acrylic paints, watercolors, oil paints, etc., there are repeated actions, such as dipping the brush in water, taking a paintbrush and wiping with a cloth. This kind of ritual is for the creator an anchor for finding an inner rhythm, as well as a framework that gives self-confidence, organization, order and setting boundaries, and hence for deeper emotional work (Auerbach and Galkin, 1997).

Due to lack of skill in working with different colors and their properties, such as the fluidity of the paint on top of the painting, there may be other uncontrolled and planned situations. This can create a variety of emotions in the creator, between negative emotions (anxiety, lack of control and discomfort) and positive emotions (joy for new discoveries, curiosity and power). The variety of emotion expressions when working with art paints improves the ability to be flexible.

The wide range of possibilities contained within the clay, from vigorous work to gentle work, calls for a wide range of emotions that may arise in the process of working with it. Kneading the clay, touching it, sculpting, testing the clay - these are sensual actions that bring the creator back to his initial experiences. The substance enables control and loss of control, invites concentration, meditation and a sense of inner peace.

In all fields of art, through the transitions between working on the small details and referring to the whole work, the perception of the proportions of the observation of life expands. This way of working develops the synchronous activity between the right brain lobe and the left brain lobe.

bibliography

Orbach, n. And Galkin, L.. (1997). Spirit of Material: Art Therapy - Moves and Experiences. Kiryat Bialik: Brother Publishing.

Winnicott d. and. (1971). Game and reality. Tel Aviv: Am Oved.

Lurie, L.. (2002). The game and the tension involved. Following Winnicott. In Peroni, A. (ed.). The game: a look from psychoanalysis and elsewhere (Pp. 88-103). Tel Aviv: Yedioth Ahronoth - Hemed Books.

Shal- Shpilka, h. (1998). Parents' memory - through art therapy in an internal system.  Issues in special education and rehabilitation. 13 (2). 53-64.

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