Canadian Art Therapy Association Journal

ISSN: 0832-2473 (Print) 2377-360X (Online) Journal homepage: http://www.tandfonline.com/loi/ucat20

What is This ‘Art Therapy’?

Cheryle Wong

To cite this article: Cheryle Wong (1998) What is This ‘Art Therapy’?, Canadian Art Therapy
Association Journal, 12:1, 34-40, DOI: 10.1080/08322473.1998.11432234

To link to this article: http://dx.doi.org/10.1080/08322473.1998.11432234

Published online: 06 May 2015.

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 WHAT IS TillS 'ART THERAPY'?:
PROFILES OF ART THERAPISTS AND THEm PROFESSION

Cheryle Wong
Kootaney Bay, British Columbia

"The gentle way ofreflecting on symbolism allows for an individual pace

without direct confrontationwithin oneself or with others. Without confrontation, insights arise
that eliminate the needfor self-defense and self-justification" (Radha, 1987, p.13).

Abstract: The intent of this paper is to introduce and discuss the intricate work of art therapists. Those
considering a career in art therapy may find this an informative piece. I will begin by describing my experience
with art and its symbols and relating my (mis)conceptions about art therapy. Next will be a brief overview of how
art therapy operates and a discussion on its invaluable contributions to the therapeutic profession. Third, I will
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look at the skills and knowledge deemed useful to the therapist. The prominent characteristics of an art therapist's
work is the fourth topic which will be examined. Subsequently, the issue ofwhether to work in a private office or in
the public sphere with an agency will be explored. The sixth subject will be the educational requirements
necessary to practice art therapy. An elaboration on the future of art therapists, and the options it holds, will be
the final area of inquiry.

In search of meaning: until the inner or outer necessities of the life-process

For several months I contemplated my ideals in
this life; I wondered how I could best use my skills
and talents. I wish to bring meaning to my work and I
realize that by helping others in an honest and
sincere manner I can do so. In short, I wish to assist
others to fmd their own answers to their own issues.
Of course, "by fmding answers within, we gain self-
confidence. We do not depend on someone else to
interpret our aches and pains which can be seen in a
thousand different ways. There can be no
generalization about symbols because we each
develop our own symbolic language" (Radha, 1994,
p.lO).
By reflecting on my dreams, I develop my
relationship with my mind's intelligence; this
connection has a great impact on my life. For
example, by considering my dreams messages I
embrace my true feelings about a given issue in my
life. I gain insight into the patterns of the workings of
my mind. In this respect, Carl Jung describes the
development and significance of symbols: Psychic
development cannot be accomplished by intention
and will alone; it needs the attraction of the symbol,
whose value quantum (i.e., the energy invested in it)
exceeds that of the cause. But the formation of a
symbol cannot take place until the mind has dwelt
long enough on the elementary facts, that is to say
have brought about a transformation of energy (Jung,
1977, pp. 58-66). On that account, I have come to
comprehend the concepts which lie behind all my
assumptions and expectations. The gift of
empowerment is mine should I choose to learn from
the messages I extract from my (dream) symbols.
Like most people, I have a variety of interests,
so the question is "which ones do I want to bring
forth?" I spend a large portion of my leisure time
either drawing or painting. On a personal level, it
brings me great satisfaction. This form of expression
is a precious gift, as it allows me to explore my
emotions and the desires that shape them. My
interest in the symbols to be found in art, dreams,
myths and stories has compelled me to combine art
with my interest in psychology and sociology.
As I began to conceptualize the marriage
between art and psychotherapy, I was surprised to
discover that it already existed in the form of art
therapy. However, I still wanted reassurance about
the need for art therapists in social services and/or
private practice. I also had the objective that my
Master's degree would be practical. I realized that I
needed to go beyond research on art therapy and its
background; thus, I interviewed several art therapists
in the Greater Vancouver Regional District. It is

34 THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 12, No.1, 1998
 from these interviews that I drew together my
understanding of the art therapy profession.
What is art therapy?
The expressive and healing powers of visual
arts is not a novel concept; it is "as old as the stars ...
one would only have to dig into Aboriginal art,
medicine people or shamanism," Duanita Crofton
emphatically explained. For example, the medicine
wheel, "an ancient symbol used by almost all of the
Native people of North and South America" can be
used to help one understand the emotions or things
one cannot see because they are too abstract and do
not have physical characteristics (Bopp, et aI., 1985).
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In some respects, art therapy is based on these
principles of various cultural, traditional therapeutic
methods.
Within Canada, art therapy is a relatively young
field. Its conception and first application was in the
1950s with Dr. Martin Fischer in Toronto, and Irene
and Selwyn Dewdney in London whose pioneering
work contributed to the development of art therapy
programs at the Toronto Art Therapy Institute
(TAT!) and the University of Western Ontario,
respectively. Meanwhile, the Montreal community
took an interest in Marie Revai, an occupational
therapist at the Alan Memorial Hospital, whose work
incorporated art therapy and these events fostered the
evolution of Concordia University's art therapy
program. In the late 1960s, Kay Collis' work with the
Victoria Mental Health Centre and subsequent
training she supplied in the community advanced the
art therapy movement in British Columbia. In the
early 1980s Lois Woolf, who was supported by her
mentor, Dr. Fischer, and assisted· by Terry Adler,
founded the Vancouver Art Therapy Institute in
response to the communities' interest for alternative
forms of therapy (Woolf, 1996). In Europe and the
United States, the expressive and healing effects of
art therapy were recognized as early as the 1930s and
1940s (Kramer, 1993). Although the foundation of
art therapy was laid out by its founders, its identity
and the way it is practiced is being shaped by today's
art therapists.
Some therapists receive great satisfaction by
collaborating with their clients on the journey of self-
awareness. Each therapist with whom I spoke
stressed that art therapy is not about interpreting the
THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 12, No.1, 1998
art, but rather assisting the client to interpret the
message his or her psyche is conveying by way of
images. In short: the art therapist makes herlhimself
the ally of the client's creative venture, lending both
technical assistance and emotional support. To
perform this function well, the art therapist must
recognize and respond to the hidden as well as the
overt aspects of the client's production and
behaviour. SIRe will not, as a rule, directly interpret
unconscious meaning, but s/he shall use herlhis
knowledge to help the client produce art work that
contains and expresses emotionally loaded material
(Kramer, 1993, p. 34).
Art is viewed not only as a remedy for
emotional suffering, but also as a promoter of the
value of art in our society and culture. Kramer
(1993) describes how the decrease in the cultural
importance of fme arts and the regression of folk art
are causes for the development of art forms outside
of traditional art. The art therapist's chief interest is
this alternative or personal art. Indeed, the rise of art
therapy as a profession has arguably been based on a
widespread but unfulfilled need for art. Moreover,
Kramer sees art as therapeutic in and of itself.
Likewise, Margaret Naumburg, an educator, argues
that art is symbolic of the person who creates it
(Gladding, 1992).
Art, as a counseling tool, transcends all ages
and populations. It is an effective tool for children,
adolescents, adults, seniors and mentally or
physically challenged individuals. Individuals in a
family or community can benefit from allowing
latent emotions the chance to be expressed through
art. However, tailoring the implementation or
introduction of art therapy to a client's age or
background makes it more practical than if it is not
individualized (Gladding, 1992).
Important skills and knowledge:
Counseling skills, an education in psychology,
and a desire to help others are the general attributes
of a therapist. There are, however, some less
expected qualities such as the desire to increase self-
knowledge, a comprehensive understanding of the art
process, and the ability to embrace ideological and
other differences.
3S
 It is fundamental that an art therapist actively
increase his or her own self-knowledge. Michelle
Oucharek-Deo, an art therapist with British
Columbia's Children's Hospital (BCCH), elaborates
on the rationale behind self-therapy: " ... in the
therapeutic industry you're going to be coming up
against a similar situation in your own past. And if
you haven't dealt with it on any level, then it's not
good for the client or for you. It's tough work. .. [but
it] brought me to a place as a better person and
therapist. Otherwise, I would not be able to do this
work now" (Oucharek-Deo, 1996). Similarly, Carola
Ackery (1996), an art therapist in private practice,
states "we're complex people, all of us. And if you
get to know yourself, it's the biggest door to
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understanding other people."
Coleen Gold, who. continues to do her own art
work, believes that it is necessary for an art therapist
to have "a passion for art or images" in order for art
therapy to be a success. Therapists such as Gold
believe that every image contains meaning. Further,
according to former art teacher Margarete Hanna,
creating art develops a deep understanding of art and
its creative thought processes. With the experience of
creating art, the art therapist has the ability to
introduce art media because she understands their
use.
Ideological and theoretical openness facilitates
respect for a client's issues and allows their meanings
to unfold. Hence, Gold tries not to hold onto any
preconceived notions about how a given client
should conduct his life. It is of great importance that
the therapist is sensitive to a given culture's nuances,
and yet maintains an openness to a client's deviance
from his or her cultural norm. Peggy Clarkson (1996)
emphasizes that therapists can learn alongside their
clients by keeping this open frame of mind.
Highlights of art therapy:
Many of the interviewed therapists discuss
"door opening" (Jones Callahan, 1996): a sealed door
opens and finally a client walks through it to look
fully upon his or her internal friends or foes, deities
or demons. Clients endure a metamorphosis right
before the therapist's eyes. In an interview,
Oucharek-Deo described this recognition as a
precious "moment of clarity." Further to this view,
Andrea Cleghorn (1997), who works extensively
36 THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 12, No.1, 1998
with youth with drug addictions, views the art
therapy process as a journey of discovery to what is
at the centre of all issues and problems.
Spirituality is brought forth in therapy sessions.
For the purposes of this paper, spirituality is defmed
as individual understanding of the meaning of life's
course of events, or thus "the application of higher
values, awareness, and insights" (Radha, 1994, p.38).
The combination of spirituality and art is a portal
into a client's heart. Spirituality is a healing tool: a
client can rediscover what is most important to him
or her or come to understand the meaning of his or
her circumstances (Franz, 1996; Jones Callahan,
1996).
Most of the art therapists· interviewed stress the
importance of self-therapy and self-care throughout
their career. The majority of academic programs
require students to participate in art therapy or
psychotherapy so that the therapy becomes a part of
their lifestyle. Hanna (1996) stresses the beneficial
effects of continued self-therapy while in practice,
"as it rids [one] of any [mental or emotional] blocks."
Oucharek-Deo (1996) also emphasizes the
importance of self-care in the form of creative arts,
exercise, and socialization. A stress outlet--whether
it be creative, mental, emotional or physical--is a
basic necessity for a therapist, if he or she is to be of
service to clients (Cleghorn, 1997; Oucharek-Deo,
1996). A therapist needs to ensure that one's home is
a sanctuary where one feels safe from the complexity
of one's work life. Hence, self-therapy is a life-long
practice and a tool in itself (Jones Callahan, 1996).
Private and public practice:
Some art therapists feel that private practice is
an advantage in itself. Jones Callahan (1996) enjoys
"the independence of private practice, but at the
same time the isolation" can be difficult; hence, in
times of crisis an agency back-up would be of
assistance. Similarly, both Crofton (1996) and Gold
(1996) believe that supervision is a key means of
support. Crofton, a Registered Clinical Social
Worker in private practice as well as a Registered
Art Therapist, argues that in public practice,
supervisors provide professional feedback and
support; the therapeutic process then becomes a team
effort placing clients' needs in the centre. In contrast,
those therapists in private practice depend more on
 their own resources. Crofton (1997) advocates that it
is even more crucial for individuals in private
practice to have a qualified supervisor because of
this isolation.
The challenges of starting up and running a
private practice are similar to those of starting up a
small business. One of the requirements of running a
private practice is "a strong referral base in order to
build a clientele" (Oucharek-Deo, 1996); clients
recommending one's good work is an effective
method. In Hanna's (1996) opinion, "counselors are
business people," especially in the face of less health
care monies being allocated for mental-health care.
For her, networking is a key method of marketing.
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Women's groups, professional associations and her
own clients are the means by which she transmits
information about her service to the public.
Another challenge is obtaining fmancing in
order to buy the office equipment and materials
needed to run an office and to purchase the art
supplies. Since net income can drastically fluctuate,
it is essential to have small business management
skills. 'The primary point to remember is that a
private practice is a business and should be treated
accordingly (Franz, 1996; Jones Callahan, 1996).
It is interesting to note that an art therapist can
work out of his or her home. However, before
coming to this decision, there are some questions one
needs to consider regarding the choice for a home
office.
1. Am I able to separate work and home life?
2. How comfortable am I having a stranger in my
home?
3. Can I set professional boundaries?
4. How does my family feel about this? What
cooperation is needed from them to assure
privacy and a quiet atmosphere conducive to
therapy?
5. Do I live in an area that permits professional
home offices? Under what conditions?
Working out of one's home is a personal
decision based on one's own boundaries. It is helpful
to use intuition in deciding with which clients to
work. This community of art therapists seems to
place the client's needs before their own needs for
work. It is common practice after the consultation
THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 12, No.1, 1998
session that if the consulting therapist feels that his
or her interest would not be sustained or challenged
then she refers a client to another more well suited
therapist (Franz, 1996; Oucharek-Deo, 1996).
Crofton (1996) characterizes her judgment as being
based on "choosing those I can move forward with."
Some therapists describe a session as an hour of
nurturing the client. A private room gives the
freedom for self-expression and warm, inviting
facilities instill a sense of security and safety.
According to Gold, the art therapist and the art
therapy process help contain anxiety-provoking
situations that affect the client's everyday life. The
goal is to achieve the optimum balance between
tension and coping, neither too overwhelming nor
avoidant. For example, in Clarkson's (1997) case
study of a five year old child for whom stress from
his environment may have created a reaction of
internal self-injury: "one of the intentions of art
therapy [is] to provide a safe, consistent, therapeutic
space and relationship in light of the extraneous
stress, chaos, and potential trauma [the client]
seem[s] to be coping with in his or her daily life,
thus, containing the external chaos, while allowing it
to unfold in the art expression" (p.1).
Creating a peaceful therapeutic setting can give
clients a sense of security and promote a willingness
to explore their feelings. The hours of work can vary:
there is a large amounl of flexibility in an art
therapist's schedule. For example, full-time work for
an agency-based therapist can consist of any given
number of clinical (or client contact) hours per week.
These therapists are paid for a forty hour work week,
but the remainder of these hours are designated for
meetings and writing up reports (Oucharek-Deo,
1996). However, in a private practice, one can work
on a personalized schedule. It is not uncommon to
work only three or four days of the week. The rest of
the days then become "stress relief" for the therapist.
It is common for a therapist to share his or her time
between private and public practice in order to earn a
fulltime salary.
Agency work is less strenuous than private
practice, in terms of marketing. For example,
hospitals or social service centres provide the
patients. The therapist has the stability and security
of knowing that the agency guarantees income and
work. In contrast, an art therapist in private practice
37
 has to be creative in how he or she goes about
advertising. It is imperative that one be resourceful at
fmding a market; that is, reaching out to minority
groups such as women, gays/lesbians, terminally ill
patients, or physically disabled persons. Senior
citizens are receptive to art therapy, as are abused or
traumatized individuals. Many persons experiencing
grief or loss find art to be expressive and therapeutic.
Education: Degree or graduate diploma:
It is not my intention to give full details of the
various training programs in art therapy; instead I
will describe the required education and experience
needed for graduate education in art therapy. First,
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personal experience as a client reinforces conviction
in the art therapy process. Next, various educational
backgrounds and volunteer experiences can be useful
in art therapy. I will conclude this section by
examining the position of education in art therapy
programs in Canada.
For several months prior to Ackery's (1996)
enrollment in art therapy studies she was a client
herself. She viewed the art therapy programs as a
serious investment and thus ensured that the process
worked for her. I, in the same manner, became an art
therapy client. I can gain vast amounts of theoretical
knowledge in this lifetime, but nothing will speak to
me more clearly than experience. Although I held a
strong grasp on the richness of my symbolic
vocabulary, the question still remained: could a
psychotherapeutic process, aided by a therapist,
bring my own answers into being? I sought after
experiential knowledge for its healing and practical
qualities.
Many of the interviewed therapists are adamant that
volunteer experience in the social services is an asset
as it offers the chance for one to contribute to her
community. Moreover, it gives one exposure to
various agencies and institutions and their
professionals. Teaching is another way to gain
experience. Arts and crafts coordinators have first-
hand experience at introducing art materials. Clearly,
one can acquire some of the skills of an art therapist
by being involved in the community.
It is not my objective to promote one
educational institution over another; instead, I offer
an outline of the general requirements as described
by most of the Canadian art therapy programs. There
38 THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol. 12, No.1, 1998
are several programs of study in Canada which are
approved by the Canadian Art Therapy Association:
in British Columbia at the British Columbia School
of Art Therapy, Kutenai Art Therapy Institute and
Vancouver Art Therapy Institute; in Eastern Canada
at the University of Western Ontario, Toronto Art
Therapy Institute or Concordia University. For more
detailed information refer to The Canadian Art
Therapy Association Journal, (v.10, no.l) and the Art
Therapy in Canada website (http:\\www.io.org\-
phansen) which feature these educational programs.
Most of the art therapy institutions in Canada
require a background in psychology. After this
requirement, the next may be an education and/or
proficiency in fme arts. Undergraduate
specializations vary; some art therapists have a
background in social work (either at the bachelor or
the graduate level). Others have a fme arts education
either in academics or studio. Some individuals have
years of experience as (art) teachers or social
workers; hence, they bring to this work their
communication and counseling skills. The reasoning
behind practica is to give students experience within
the art therapy process. They also give students an
opportunity to work and observe health care
professionals. It is important for students to choose
internships with organizations which deal with issues
of interest to them, since a given practicum usually
influences students' theses or case studies. In general,
the placements are with school boards, various social
services, mental health centres, hospitals, and
alcohol and drug abuse programs (BCSAT,1996;
Concordia University, 1996; TATI, 1996; VA TI,
1996). The frequency and duration of practica,
however, differ by institution and practicum request.
Art Therapist Trainees can learn from their
practicum about their own limits and how to create
and work within their boundaries. The variety of
options in preparing for a formal education in art
therapy involves self-assessment. In other words, one
must consider one's sense of self and his or her place
in this world. Regardless of whether one enrolls in a f'
diploma or a Master's program, many cite the
practicum as the true essence of the learning process.
The mechanics of the profession:
The future of Art Therapy looks promising. It is
increasingly becoming an accepted form of therapy
in the medical and social services. Ackery explains
 that "art therapy is a great adjunctive to other (forms)
of therapy, like those with a psychiatrist." However,
some "psychiatrists and counselors use art, but it's
more for interpretation," or for assessment and
diagnosis based on proj ective techniques, than as a
means of self-understanding, as their methods are not
client-centered. Moreover, growing validation for the
role of art therapy in the health services is reflected
by increasing financial support. For instance, the
BCCR's Auxiliary (1997) budget for 1997-98
includes funding for an art therapist in the psychiatry
department. Overall, Hanna (1996) believes that the
development of art therapy is in the hands of today's
professionals. These individuals will shape the future
of art therapy in the community. They will, in turn,
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affect the employment prospects of current and
future art therapists. Most likely, however, art
therapy will remain a specialty profession over the
next few years, similar to music or dance therapy.
Because art therapy as a profession is relatively
young, there is plenty of flexibility to cross over into
a variety of related fields. Also. there is diversity in
an art therapist's work. Art therapists can vary their
work through art, community work, consultation,
direct practice, supervision, teaching and writing
(Crofton, 1997).
After a graduate of a recognized Art Therapy
Training Program has been a full member of the
Canadian Art Therapy Association (CATA) for a
minimum of six months, has accumulated additional
clinical experience (1000 hours) and clinical
supervision (50 hours), and continuing education
credits, he or she may apply to become a Registered
Art Therapist (CATA, 1997). Registration of
therapists ensures a high standard of professional
practice; it also strengthens, groups; and lends weight
to the promotion of the profession (Hanna, 1996).
Art therapists may also become members of
various provincial art therapy, associations and
national associations from other countries (e.g.
American Art Therapy Association, AATA), all of
which maintain their own ethics and standards.
Canadian Art Therapists follow a code of ethics
which states the rights of the clients and therapists. It
is the principle which art therapists operate on and
thus, they are subject to its regulations. A given
code of ethics is implemented to provide protection
for clients against unprofessional therapy. Moreover,
THE CANADIAN ART THERAPY ASSOCIATION JOURNAL, Vol; 12, No.1, 1998
adherence by art therapists to the. code demonstrates
compliance to its ethical standards.
Since art therapy is conducive to other forms of
therapy, it can be useful to social workers and to
school counsellors. By combinil)g art with other
creative artistic tools, such as drama, music and
literature, stimulated creativity is itself a form of
therapy (Gladding, 1992).
Conclusion:
Embracing the meaning of symbols in the
process of art therapy can assist a client in exploring
his or her issues. During this journey the art therapist
does not interpret the art, but rather walks alongside
the client. Art therapists offer the milieu in which
clients can rediscover their own strengths. A
therapist's openness to cultural, ideological and
theoretical differences allows a secure space for a
client to stride, and sometimes crawl, towards the
door of self-awareness.
One of the primary differences between
working for an agency or in a private practice is the
availability of support. One who works for an
agency, such as a hospital or institution, would have
supervision readily available, whereas a therapist in
private practice would need to seek out colleagues
and then sustain these professional relations. By
participating in this community of mental health
professionals, an art therapist may benefit both
personally and professionally.
Another difference is how private practice
clearly demands business skills while agency work
does not; networking and creative marketing can
increase a clientele of an art therapist in private
practice. Art therapy requires knowledge based on a
mixture of psychology and art processes. Practicum
placements enhance knowledge and give the art
therapist the resources she needs to carry out her
work. The challenges facing the legitimization of the
profession may be. replaced by the increasing
recognition of the healing value of the art therapy
process, especially in the context of its incorporation
with other forms of therapies.
Art Therapy is a field whereby creative art is
married with psychotherapy. Art work bridges the
gap between the mind and reality: it is a metaphor for
39
 how one perceives the world around one's self. And
by the client sharing his art work, a special
therapeutic relationship is forged between the client
and the art therapist. A precious experience is to
witness a part of one's voyage towards higher
consciousness.
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