Art as projective medium: an educational psychological

model to address unresolved trauma in young adults

Authors: A.C. Loock, CPH Myburgh and M. Poggenpoel
Date: Summer 2003
From: Education(Vol. 123, Issue 4)
Publisher: Project Innovation (Alabama)
Document Type: Article
Length: 4,248 words
Content Level: (Level 5)

Abstract: 

Art lecturers affiliated to a tertiary institute observed the occurrence of

negative emotional content and expression in the artwork of students. These
students are also inclined to negative behavior and--interaction patterns. The
lecturers appealed for this research to determine the meaning of the
negative content, expressed in the student's artwork. The request was for
the research method to proceed within an art framework.

Art as projective medium was used to explore the degree to which the
projected content in the young adults' artwork reflects their personal life-
and experiential world. The young adults also had to write spontaneous
sketches about their life history in their own handwriting on unlined paper.
This was passed on to a graphologist to analyze the handwriting. The findings
of the graphologist were later used as a method of triangulation to verify the
identified themes obtained from the analysis.

During a process of facilitative interaction, by means of art as projective

medium, it was determined that the young adults struggle with unresolved
trauma as a result of childhood abuse. The exposure to abuse resulted in
experiences of pain, confusion, mistrust, isolation, aggression and
depression that have a negative influence on their relationships with others
and themselves.

These results lead to the development of a model for educational

psychologists equipping them to identify and address unresolved trauma
within young adults. The model aims at the empowerment of young adults,
suffering from unresolved childhood trauma due to abuse, in order to
promote mental health.
Key words: Educational psychologist, young adults with unresolved childhood
trauma, art as projective medium, facilitative interaction, and mental health.
Full Text: 

Introduction

People are daily in a process of creating meaning in their lives through

expression. These meanings are based on their personal and unique
experiences. One could therefore assume that the disturbing contents in
their artwork, as well as the negative behavioral patterns displayed by the art
students, are indications of traumatic experiences in their lives (Macnamara,
1995:3).

The use of art as an expression medium is as old as man himself (Janson,

1995:18) and forms an integrated part of a person's structure of being
(Myburgh & Van der Watt, 1999:3). Artwork are therefore perceived as a
meaningful form of projection with regards to the context or living world in
which the artist finds himself at that point in time. Within a postmodernist
framework with a phenomenological approach as a premise, this means that
artwork represents the artist's personal perceptions of the world he finds
himself in (Hassard, 1995:303). Vick (1996:97) states that each human
expression could be interpreted as a form of projection. Seeing that artwork
are perceived as projections of the emotional content in the artist's life
(Natale, 1996:16), creative expression can therefore be applied as a
non-threatening manner in which experienced problems could be identified
and addressed.

Problem Statement

During the course of their education art students are exposed to a wide
variety of life situations that they have to express by means of art. Given the
fact that artists are sensitive observers and that their artworks are discussed
in class, negative comments and criticism could possibly intensify existing
emotional problems. Therefore, people with unresolved emotional trauma
from their past, can either respond with aggression/rebellion, or become
totally withdrawn and depressed (Abraham, 1990:401). Art lecturers from a
Tertiary institution observed this tendency within their students. In addition
to negative behavioral patterns and -interactions displayed by the students, it
was also noticed that their artwork mainly contains themes of explicit
violence and sexual elements.
The question arose with the lecturers whether the observed expressions
could possibly be a reflection of personal exposure to some kind of abuse or
an indication of experienced aggression and internal conflict. The lecturers
wanted to know whether it was possible to use a more reliable method to
gain information about the art student's emotional state of well being as well
as an explanation for the violent themes expressed in their artwork. These
aspects were discussed with colleagues at a University and the following
question were formulated:

* How can art as projective medium be used to identify and address

emotional problems or unresolved trauma experienced by art students?

Objective

The purpose of the research is to develop a model in which art is used as a

form of projection to identify and address unresolved trauma in the lives of
young adults. The goal of the facilitative interaction--that took place between
the educational psychologist and young adults--is a practice-orientated
attempt to stimulate self-awareness,--insight and--empowerment so that
mental health and well-being are obtained and enhanced.

Research Design and Method

The research design is qualitative, explorative, descriptive, contextual and

theory generating (Chinn & Kramer, 1991:79).

The study is described as qualitative because an in-depth study was done

(Smith, 1994:31) to gain insight and understanding of the personal meaning
that could be attached to the themes and expressions in the student's
artwork (Burns & Grove, 1993:26). The researcher entered the field and
conducted the research open-minded--bracketing all preconceptions,
personal opinions and expectations--in order to explore all possible existing
phenomena (Burns & Grove, 1993:30). This was done by consciously
annotating the methodology, course of research, perceptions and
interpretations by means of a dense description (Strauss & Corbin, 1990:22).
The study is contextual bound--linked to a certain time, space and value
context (Botes, 1991:7)--in the sense that the educational psychologist used
art as projection medium and, through a process of facilitative interaction,
were able to identify and address unresolved childhood trauma experienced
by the art students. The fieldwork resulted in a practice-orientated model,
developed during a process of theory generating, according to the principles
of Dickoff, James and Wiedenbach (1968: 415-435). This process entails four
steps that formed the basis and gave direction to the research. The four
steps that were followed in the process of theory generating consist of the
following:

Phase one entailed fieldwork in which the identification--, definition--and

classification of concepts were formulated. Step one of theory generating
was divided into two phases. During phase one a Gestalt-therapeutic
exercise, "The Rosebush" (Oaklander, 1978:32-35), was done with the
students, where-after they had to write spontaneous sketches about their life
history on unlined paper. The spontaneous sketches were given to a
graphologist for the purpose of handwriting-analysis. Handwriting can also
be perceived as a projection medium--having the ability to reveal people's
characteristic features and emotional experiences (Hargreaves, 1990:7). The
findings of the graphologist were, later on, used as external triangulation to
confirm/reject the themes that emerged through data analysis.

Step one contained in-depth interviews with students that reported

voluntarily (Mouton, 1996:135). The respondents consisted of a multi-cultural
group between the ages of 18 and 24--having different languages as mother
tongue (Afrikaans, English, Zulu, Sotho, French, Polish and Taiwanese).
During the interviews it was endeavored to understand the life contents and
expression there-of in the student's lives by analyzing and discussing the
personal meanings attached to the rose drawing and a previously completed
cartoon/ comic strip. The interviews were audio taped and transcribed
verbatim by an independent person. Data saturation was obtained after 30
respondents completed both phases of the data collection (Lincoln & Guba,
1985:210).

During the analysis of data, central concepts (themes) were identified and
verified by means of a literature control (Woods & Catanzaro, 1988:136;
Poggenpoel, 1994:2). The central themes were further verified by an
independent coder--a person, with a doctorate in educational psychology
with experience in the qualitative research methodology, theory generating
and model development. Copies of the transcriptions, rose drawings,
cartoons and field notes were given to him for the purpose of independent
analysis. After a discussion with him, to reach consent about the identified
concepts, the information from the graphologist were incorporated to, once
again, verify the themes/concepts found during data analysis. These central
concepts were then defined according to the combined three-step method of
Wandelt & Stewart (1983:64-65) and Wilson (1989:20-38). This implicates that
concepts are defined and clarified by making use of dictionaries, subject
related descriptions and by constructing a model case. The classification of
concepts took place according to the survey list from Dickoff, James and
Wiedenbach (1968:415-435).

Step two contains the construction of theoretical relations between the

abovementioned concepts. During step three a practice-orientated model
was developed, described and illustrated by means of a visual graph. This
was followed by step four, consisting of a description of guidelines to
operationalize the model, in which art as projective media were used during
a process of facilitative interaction to address unresolved childhood trauma
experienced by young adults.

Theory development is a sophisticated and complex process that took place

through a number of logical reasoning strategies. The reasoning strategies,
used to develop and compile the model as result of the research, were
analysis synthesis, induction and deduction (Walker & Avant, 1988:131-171).
During the process of theory generating, the inter subjective interpretations
of the qualitative researcher should be kept in mind and therefore the whole
research process were described thoroughly (Parse & Smith, 1985:17). In
order to obtain and establish trustworthiness, the researcher made use of
Guba's model (Lincoln & Guba, 1985:300-317; Zwane, 1997:39).
Trustworthiness was thus built in deliberately by the researcher through
strategies of: Prolonged engagement; Reflective--and sustained observation;
Participant control; Peer examination and Triangulation (Creswell, 1994:168;
Krefting, 1990:215-218; Lincoln & Guba, 1985:316-318). These conformability
measures lead to the establishment of an audit-trail while all raw data--up
and to the final product--were carefully safeguarded to enhance the
credibility of the research (Loock, 1999:42-47).

Research Results

During the collection of data, it became clear that the art students used their
artwork to express personal traumatic life events and experiences. One
respondent stated the following: "I use my art as an emotional waste paper
basket" and another said: "My art is almost like a record of myself" (Loock,
1999:73)
By using art as projective media during the process of facilitative interaction,
it came to light that the respondents were victims of abuse during their
childhood years. Abuse in all its forms--physical, emotional, verbal abuse, as
well as neglect--(Bear, Schenk & Buckner, 1993:42-47), were expressed
through works of art, handwriting, interviews and spontaneous sketches. It
seemed as if these destructive exposures during childhood harmed their
self-perception and had a negative influence on their relationships and
behavior (Chaffer, 1995:23-24; Natale, 1996:16; Loock, 1999:73-75). Brendtro
& Long (1995:52) and Bear et.al (1993:42) explains this tendency due to the
fact that human behavior arises and is influenced by experiences from the
past. Epanchin & Paul (1987:18) and Thompson & Rudolph (1992:187)
confirmed that the subconscious thinking processes arises from childhood
experiences and, to a large extent, gives direction to human behavior.
According to these research results, unresolved trauma leads to barriers that
have a negative influence on relationships with others and oneself.

In order to help these young adults to overcome the barriers of negative

emotions, perceptions and interactions, a model was compiled. The aim of
this model is to provide a framework to assist young adults to obtain a
realistic self perception, to deal with their past trauma, become empowered
and live a life that reflects a state of mental health and well-being. It was
noticed that the research processes itself already lead to some extend of
relief and empowerment. This was because they had the opportunity to
share their experiences in an empathetic environment--where they were
allowed to give expression to their emotions in a concrete way consisting of
symbolic meaning (Loock, 1999:100). The information obtained from the
research were used to develop the following model:

Description and Operationalizing of the Model

The concepts, as identified during the fieldwork, were used to compile a

model in which art as projective media directed the process of facilitative
interaction to address unresolved childhood trauma experienced by young
adults. A graphical design was developed; containing the concepts, people
involved, roles, aims and proposed outcome (See Figure 1.1) of the model.
With this graphical design as premises, the concepts and context are
explained next.

The two role players, the educational psychologist and the young adult, are
both presented as a whole person. This means that each consists of body,
soul and mind and functions in terms of their own internal- and external
living world (Oral Roberts University: Anna Vaughn School of Nursing,
1990:136-142).

For the purpose of this study, educational psychologist are defined as the
trained person with specific knowledge and skills to fulfill different roles and
perform the task of facilitator to guide and empower people towards insight
obtaining and promoting a lifestyle that reflects mental health (Loock,
1999:134). As a result of the educational psychologists' widespread training
and contemporary extended roles--where a person's development from birth
to death are studied and seen as domain of practice (Kriegler, 1988:87;
Sharrat, 1995:221),--facilitative interaction takes place with the young adult
by using facilitative elements like respect, acceptance, positive regard,
empathy, trust and certain communication skills.

The young adult is perceived as a person between the age of 18 and 24

years, experiencing impaired relationships and falling prey to self-destructive
behavior as result of a traumatic past. Because of this, he struggles with
barriers, experienced as feelings of pain, confusion, mistrust, isolation,
aggression and depression (Loock, 1999:134).

The process, where art is applied as projective medium during facilitative

interaction between the educational psychologist and young adult, consists
of an encounter-, work- and termination phase. The context, in which this
model will be applied, is with young adults who experiences emotional
difficulties due to unresolved trauma.

During the encounter phase the educational psychologist explains the

nature, purpose and use of art as projective medium to the young adult. The
educational psychologist makes use of facilitative elements to win the trust
of the young adults in order to establish a working relationship.

Facilitative interaction is accordingly defined as a voluntary bond and

contains mutual responsibility of the educational psychologist and the young
adult with unresolved trauma due to childhood abuse. During this process
the educational psychologist takes the lead and uses specific communication
skills to exploit art as projective medium and elicit information. Hereby a
warm and understanding relationship is established to facilitate mutual
interaction. The respect, acceptance and unconditional positive regard from
the educational psychologist makes it easier for the young adult with
unresolved trauma to take the risk and share confidential information during
his search for self insight. Facilitating interaction creates the opportunity for
the educational psychologist to listen and support to enable personal growth
and self-help within in the young adult. It also offers the young adult a
chance to acquire insight, to accept the responsibilities for his life and to
make new decisions in order to overcome his obstacles (Loock, 1999:133).

The work phase consists of two parts. Firstly, the Gestalt-therapeutic

exercise, The Rosebush, is implemented according to the description of
Oaklander (1978:3235). Through this, young adults are guided towards an
enhanced self-awareness about the "here-and-now" of their lives.
Self-awareness takes place through an enhanced- and conscious focus of the
external world, as well as the inner experiences, emotions and thought
processes of one self (Selwyn, 1994:47). The Rosebush, as symbolic
expression of the young adult's life, obtains projective value and leads to the
reassessment thereof (Abraham, 1990:391; Rabin, 1986:5). Letting the young
adults write spontaneous sketches about their life story on unlined paper
follows this. Because a person's handwriting consists of projective value,
these sketches have to be analyzed by a trained graphologist (Hargreaves,
1990:7; Loots, 1998:4).

For the purpose of the study, art as projective medium is thus described as
the creating of a situation/stimulation where an artist, or any person that has
the ability to construct a work of art, can react as freely as possible to
communicate his life world experiences and perceptions (Reber, 1998:53).
These contents, coming from his subconscious mind, can be interpreted as a
reflection of the artist's emotions, personality and behavioral patterns.
Through his art, he can get the chance to discover his own realities and
inner-world perceptions. This can help him to get acquainted with his
perceptions in order to address and overcome his problems--which can lead
to an enhanced self-esteem (Loock, 1999:131).

The second part of the working phase entails artwork analysis during the
in-depth interviews with individuals. Analysis of the rose drawing gives the
young adult the opportunity to observe the rose as a symbolic
representation of the "here-and-now" of his life and to attach personal
meaning to it. After the deeper meaning of the rose drawing is revealed, the
young adult's cartoons are also analyzed in terms the personal projection
value it consists of. The artist is allowed to explain--and discover--the
personal meaning of his work in order to come to a deeper understanding of
his subconscious world (Natale, 1996:13; Caffaro, 1995:32). Art analysis can
have a therapeutic function if the educational psychologist continuously uses
facilitative elements, providing guidance and support through emphatic
interaction with the young adult (Rogers in Moller, 1992:144). During this
process the young adult can achieve self-insight in terms of discovering the
link between current problems and the occurrences and incidents that took
place in his life. It holds the implication that he may realize that he
sometimes plays a roll in the continuation thereof--through negative
behavior and interaction. Self-insight represents those aspects that mobilize
the will-to-change.

The termination phase takes place when the educational psychologist

becomes aware of the fact that the young adult has the ability to focus on his
core need or experienced problem in order to complete a
Gestalt-Therapeutic cycle according to Perl's (1969) approach (in Thompson
& Rudolph, 1992:110). This cycle entails the following aspects: an enhanced
self-awareness enables the young adult to identify a problem or a need and
to focus on it. When he experience the so called, "aha-feeling", it indicates
that he has acquired insight regarding the formation and maintenance of the
problem--after which it is possible for him to plan a solution or bring about
the necessary change (Dolbec, 1996:17-19; Selwyn, 1995:5-7). As soon as he
starts to exercise new choices of healthy thinking and positive behavior, he is
in the act of empowering himself. Self-empowerment means that the young
adult takes up the responsibility to acknowledge the events of the past and
understand the influence it has on his life. He then chooses to take control,
to act differently or to voluntarily seek help. Mental Health is experienced
when a person makes peace with the circumstances of his past and exercises
new choices by acting and responding differently in order to bring about
possible changes. This indicates that inner growth has taken place and that
the person experiences a sense of wholeness. As a result of this the
psychological processes of the young adult can lead to the integration and
interaction between his internal and external world (Poggenpoel, 1994:
54-57)--which can be seen as the ideal outcome of the model.

Evaluation of the Model

The evaluation of the model is done according to the criteria set by Chinn
and Kramer (1991:128-138). In terms of clarity, it is important to make sure
that all major concepts are clearly defined within the frame of the specific
discipline. Consistency of explanations, terms, examples and structures
should lead to a flow of sequence in reaching conclusions.

Simplicity is reflected by the way in which the theory is structured and the
relationships of concepts are organized. A graphic design helped to simplify
the model and to indicate the relationships between concepts visually.

Generality represents the areas in which the specific model can be used. The
model, as described in this article, is found to be of such a nature that it
could be apply in a wider context by various health workers.

Empirical applicability refers to the way in which the concepts and empirical
indicators are identifiable in reality. Clear definitions of concepts and the
formulating of statements and hypothesis within a specific context, enhances
empirical applicability.

Consequences are reflected by the significance of the study in terms of

having practical value or the potential to influence research or aspects of
educational psychology. The fact that the procedure of this research took
place in a real life environment as result of an inquiry from the lecturers
indicates that it is a practice-orientated model. Within the knowledge of the
researcher, no other study had a similar multi-cultural background or made
use of the combination of these specific aspects of art as projective medium
(Spontaneous sketches, graphology, in-depth interviews, analysis of comic
strips and "The Rosebush").

Summary

This research was conducted because of the inquiry from lecturers, who
were concerned about the fact that some art student's artwork, behavior and
interactions in general reflected a pattern of negativity--which could be an
indication of emotional problems. An educational psychological model was
developed in which do as projective media were used during a process of
facilitative interaction to address unresolved young adults experience
trauma. The success of this model was already noticeable in the
enlightenment that the participants expressed after art as projective media
were applied and they could step into facilitative interaction with the
educational psychologist. Graphology, as external triangulation, showed a
striking correspondence with the information made known by the
participants.
The evaluation of the model indicates the practical usefulness of this model
with young adults who battle with unresolved trauma due to childhood
abuse.

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LOOCK, A.C.

* MYBURGH, CPH

POGGENPOEL, M.

Faculty of Education and Nursing

Rand Afrikaans University

Loock, A.C.^Myburgh, CPH^Poggenpoel, M.

Copyright: COPYRIGHT 2003 Project Innovation (Alabama)
http://www.projectinnovation.biz/education_2006.html
Source Citation (MLA 9th Edition)   
Loock, A.C., et al. "Art as projective medium: an educational psychological
model to address unresolved trauma in young adults." Education, vol. 123,
no. 4, summer 2003, pp. 705+. Gale In Context: Opposing Viewpoints,
link.gale.com/apps/doc/A105043949/OVIC?u=j101907002&sid=bookmark-OVI
C&xid=e8316cd8. Accessed 3 May 2022.

Gale Document Number: GALE|A105043949