The Mandala - exploring ones relationship with wholeness

On Saturday 3rd December I will be concluding this years art therapy workshop programme with a day reflecting on ones relationship with wholeness. A good way to wrap up the year and hopefully a sound base from which to move into the new year. Places are still available. If you are interested give me a call or drop me an email.

Warm regards

Marie

More info http://www.ukarttherapy.co.uk/

Art Therapy - working with children.

I recently stumble upon an old interview I had given about my approach to art therapy. Having re-read it again today, I thought you may find it interesting.

What would you say is the most common reason for children to attend art therapy sessions?

Problematic areas in life, communication problems, ill defined feelings, inability to express.

Would you say that all the children who attend have similar problems like bullying or domestic problems?

As an art therapist, I don’t categorize problems, I listen to the child and work from his/her point of view. It’s been my experience that by giving the problem a definition, the creative element of finding a resolution is stumped. We all know that the environment plays an important role in positive and negative learning.

How are art activities effective in helping children overcome their problems?

The child now has an image of what he/she is feeling. A child works much better with images than words; images are an ‘a priori’ for a child, words are learned. Words have different meanings etc.

Can art therapy fix a child’s problem for good?

This is a naïve question and reflects your lack of experience in this field. Nothing is ever ‘fixed’. One set of art therapy sessions may find the resolution needed to put the feelings of an experience in proper context only to open the door to another set that needs exploration.

Is there a general length of time that children attend or does it completely vary depending on the circumstances?

Each art therapist has his/her way of working with children. I prefer to work on a set of 12 sessions followed by a review, assess the progress made, ask the child to work on the issue and plan another 12 session perhaps a month later. It’s important to recognize that a child needs a break. I prefer for the child to ask as this denotes some trust and confidence in being able to ask an adult for something desired.

What type of activities do the children carry out, and what materials/resources are used?

Again this is determined by the child’s sensibilities; i.e. if a child demonstrates strong spatial sensibilities, I would use construction. This can be ‘found objects’ that the child is attracted to, clay, glue and cardboard. I use water trays a lot as children like to play in water. In increases spontaneity.

Are there different activities for different types of problems?

Again, this is a naïve question. Therapy is not something that’s done to someone, it’s a space where re-negotiation takes place. One can come away better understanding what has happened in the emotional field during an experience. The therapy space is neutral and the therapist works with what the client brings .

What is the most popular material or resource used by the children?

Depends on the child. I always play it by ear. One’s child therapy involved a ball of string.

Is there a specific activity or resource that you feel has the most positive effect on the children or does it vary from each child?

I allow the child to determine this. Art therapy is not prescriptive and there is not set way to begin a session other than what the client brings to the session. It could be a delay in the traffic, anxiety caused by being late and the repercussions that may mean to my client. It’s best to keep an open mind, a true heart and being a good listener.

Are the children given freedom in the topic/area they chose to explore or do you offer suggestions?

I begin my sessions with an interview and we look at the problems the child is experiencing. I keep the list to three as this is manageable. I then ask the child which one he/she wants to work with.

Do you work with children in groups or individually?

Individually, although sometimes I bring in an ‘art club’ where we can explore group issues, group creativity and open discussions. I sometimes offer an individual session if something comes up that would be better explored privately.

Which do you think makes more progress?

Depends on the group and depends on the issues.

Are the children given activities/exercises to do at home?

My children are given one ‘job’ at a time. The most problematic is the one that needs working on. For example, a child who runs away , if the agreement is that this stops from this therapy session, then it stops! The next session we explore all the hard work he/she had to do to make this happen. I like to feel that the child feels he/she has an active part in this process.

How important is the parents input?

I like to help the child develop a healthy ego before bringing the parents in. I bring in the parents at the initial interview so that we are all informed as to what is considered ‘the problem’ by each individual member. I then recapitulate by repeating what I’ve understood. This is followed by the plans I suggest for the therapy. I work with a contract that covers all that’s been discussed, signed and every person has a copy. This contract forms part of my boundaries.

If a child isn’t good at art or doesn’t enjoy art activities will this restrict the success of the therapy?

Again a naïve question. All children are good at art and usually very expressive. The ‘school experience’ in this area is what begins to give a child doubt about his/her capabilities. This is an area where you can see the confidence in the little hands laying out the designs. It’s very beautiful and I am always grateful that a child shares this with me.

Do you show the children at a later date the work that they had done previously?

Together we make a folder/portfolio and all of the child’s work is stored in here. If we use clay, I photograph it and place the photo in the portfolio. I work with wood a lot, and the sculpture is stored until the child wants to take it home. The thing with wood is that the child is learning problems solving techniques while enjoying himself/herself. The hammering helps to get the frustration out of the way.

Why would/wouldn’t you do this?

The work is always available. I like an open approach to whatever we do together. It’s part of changing the experience of being with an adult/mother/parents etc. Therapy is about effective communication.

How to choose a painting - is there an after sales service?

After-sales service (or customer service) is provided by the artist or the gallery should something go wrong after the sale of the painting. And my guess is your next question might be: “What could possibly go wrong?”


In fact, several things can go wrong, often because conditions in your home are inevitably very different from those in the artist’s studio or gallery. I’ll mention a few examples:
1. The image could slip from its mount (usually only in the first three months)
2. The frame’s mitred corners can become detached. Even if it’s only slightly, this is enough to cause a distraction and take away the pleasure the painting gives you.
Again I am talking about a relatively short period of time,


You will need to ask what the after sales service is.
 In my studio when a patron buys a painting I offer the following:


1. Full documentation: a photo or slide of the painting for my patron’s record and insurance purposes; a short biography; the receipt giving the full price paid for the painting, and the exhibiting history of the painting (if there is one)
2. My patron has the opportunity to exchange work that he/she has bought in the past for new or larger works. The exchange is done on the original price of the purchased painting
3. My paintings are framed to conservation level, the level used by museums


My last post on How to choose a painting will review the information that’s been covered. In the meantime, leave me your questions and anything you think I should add onto this e-course.
Until then, warm regards,
Marie

How to choose a painting - financing

In this session I want to speak about finances and financing. You’ve seen a work of art that’s caught your eye and captured your heart – but the price is over your budget.

What now? Don’t give up! There are several ways around this problem:
1. Speak with the gallery owner
2. Express your interest
3. Tell them what your budget is
4. Express your desire to own this piece of work. It sometimes helps the gallery owner if you say what attracts you

The gallery owner may introduce you to the ‘OWN ART SCHEME’, which is supported by the Arts Council. This is a scheme whereby you agree on monthly interest-free payments and have up to 12 months to pay for your chosen piece of work, usually by direct debit. The artist is paid immediately.

In my studio, when such a situation comes up I suggest paying with a series of post-dated cheques that works with your budget. This facility is interest free and, depending on the cost of the painting, you have up to 18 months to complete your payments.

Alternatively a potential patron and I will look at the budget they have available, negotiate on the price and meet each other half way. This is a very popular method because it brings the cost of the painting closer to my patron’s budget.

I am happy when one of my paintings goes to a good home with a happy patron, when both of us have reached our objective: the patron is able to buy the painting and I (as both artist and gallery owner) provide my painting with a good home.

I also offer another option: a patron who has bought several of my paintings can exchange them for either a larger or more up-to-date painting, making up any difference in price.

I am willing to investigate all possibilities to make the painting available. It pleases me a great deal to have a patron walk out of my studio with their choice of painting. I was given this opportunity when I started my own collection and feel it honours the gallery owner who allowed me to buy works I could previously have only dreamed of owning. I pass his generosity on to you.

One last word of advice: ASK! The reply might surprise you.
Warm regards,
Marie

How to choose a painting - what is meant by preferred medium?

I hope you’re feeling more comfortable about engaging with an artist and pleased with all the information you’re getting about the painting you like.

Today, I’d like to talk about what an artist means when they speak of a ‘preferred medium’. This usually refers to what an artist is working with to create their paintings. It’s also another word for ‘paint’.

A painting is a layered structure (canvas, paper, board); the surface’s preparation (‘ground’, in art jargon); and its layers of colour. Applying layers of colour means using a ‘medium’ – better known as paint.

The three most frequently used paints are oils, watercolour, and acrylics. I’ll stick to these three for the time being. All of them begin with the basic ingredient: dry pigment, the ingredient that provides colour.

Oil paint is oil-based, can be purchased in tubes and is ‘thinned’ with oil-based ingredients followed by spreading with a brush or palette knife on a prepared surface of canvas or board. A glossy finish distinguishes a painting in oil.

Watercolour is water-based, can be purchased in tubes and pans, is ‘thinned’ with water and applied with a brush to paper made flat and smooth by ‘stretching’.

A painting in watercolour is distinguished by its light, gentle and transparent colours,

Acrylic paint is usually referred to as ‘plastic paint’, can be purchased in tubes or jars and is ‘thinned’ with an acrylic medium or water. Its colours are distinguished by their brightness and opaqueness.

If you can’t recognize the medium, it’s a good idea to ask what it is.

My preferred medium is acrylics, although I’ve also worked extensively with oils, watercolour and gouache. I also make my own paint: if you’re interested, email me and I will send you my recipe.

This is a vast and interesting field and I’ve barely touched the surface!
Until next session, warm regards,
Marie

How to choose a painting - what questions do I ask?

Now that you’re well on your way to finding an artist whose work you like, you need to enter into a meaningful dialogue with them so you can find out more about their work. So today I’ll look at some key questions to get the ball rolling.

There are two settings where you’ll be able to meet the artist face to face: at an exhibition of the artist’s work when they are present; and in their studio. Whatever the setting, the key questions will be the same and will be about the work or about personal details. Approach the artist using the painting you selected and like (using the eight questions to help you identify this) and begin your meaningful dialogue to get more information about it from the person who created it.

Here are some key questions to help you to do this:
1. This painting evokes (name the feeling) in me. Is this the feeling you had in mind when you painted it?
2. Is there a story behind this painting?
3. Where did the idea for this painting come from?
4. How did you choose the colours for this painting?
5. How long did the painting take?

Keep in mind that each question will open an opportunity to ask more questions, and the reply may well warrant a different question. You may have better questions and you may want to pass them on to me.

You may also want personal details, such as:
1. When did you graduate from art school?
2. How long have you been painting?
3. Has your painting style changed over the years?
4. What is your preferred medium?

Try to follow the ‘thread’ between questions and answers. You have a distinctive advantage; any artist loves the opportunity to talk about their work. The important thing, from your point of view, is that you’re gathering information and I’m hoping you’re enjoying the process along the way.

Next time I will talk about what is meant by a ‘preferred medium’ used in painting.

Until then, warm regards, 

Marie

PS: When you have met an artist in this way, please let me know which questions you felt were most helpful in engaging them in dialogue.

How to choose a painting - finding an artist

Today I’d like to talk about how to find an artist. I begin the search for an artist from the position of not knowing anything about art or about a particular painter. First, we can check the dictionary for a definition of ‘artist’. It tells us that an ‘artist’ is a ‘painter’ or ‘draughtsman’; I associate both words with art.

The next port of call is the local arts centre, which will have lists of exhibiting artists and details of upcoming events such as art fairs, festivals, open studio weekends and art weeks. The advantage of a large group exhibition is that you can see a lot of works of art in one setting. It also removes the feeling of being expected to buy something.

Third, your local library will have an information board about local artists and art events, and may even have an exhibiting space.

Fourth on the list is the internet, a vast space that allows you to browse in privacy and at your own pace. The disadvantage is the possibility of being overwhelmed with too much information.

You can also check the Yellow Pages under ‘artist’, galleries’, and ‘public galleries’. This may lead you to other areas you may not have thought of.

To-do list:
1. Visit your local arts centre
2. Check the yellow pages of your telephone book
3. Check with your local library
4. ‘Google’ visual arts on the internet

Remember to have fun while you are doing this! Also, if you let me know about any interesting discoveries you make during this process, I will be able to pass them on to others.

You’re now on your way to finding an artist. In the next session I’ll speak about engaging with the artist and suggesting some key questions that will help you to do this. Until next time, then, happy hunting,

Marie

How to choose a painting - getting started

I can’t tell you how many times I hear the phrase: “I don’t buy art for investment, I buy it because I like it”. Buying a piece of art because you like it is the most valid reason for making such a purchase. However, I reply by saying: “Why not have your cake and eat it?” This means buying what you like or what has caught your eye, but – with a little bit of research – making the best possible purchase from an informed point of view with the funds available. What an excellent way of acquiring a good piece of art and beginning to make your way into the market! 


Understanding what you like or dislike about a painting – and why – will save you making expensive mistakes and ensure that you always get joy from your art purchases. When you look at a painting, there are eight key questions you need to ask yourself:

     

1.                What feeling do you get from looking at this painting?

2.                Why do you get this feeling?

3.                Does it remind you of something?

4.                Is there something pleasing about the painting?

5.                Is there anything unsettling about the painting?

6.                If the painting were yours what name would you give it?

7.                Now that you’ve named the painting, does it change the way you see it?

7.                Does naming it make you want to look at it again?

Here are some paintings to look at whilst you consider these questions http://www.marielaywine.com/acatalog/Angel_Gallery.html

The Studio of Marie Laywine | Art Therapy - Exploring your World

What is Art Therapy? Art Therapy involves the use of art materials for the making of images, drawings or claywork for self-expression, reflection and exploration in the presence of a trained Art Therapist. No previous experience or skill in art-making is required. The value of the drawing or painting lies in its contribution to the therapy rather than whether it is ‘good art’. The process of creating the work is more important than the final product. In every session there is time for activity and discussion.Many difficult and poorly understood feelings can find release through image-making. The image is the focus of all communication between creator and therapist. As a result, very often poorly understood feelings begin to find a clearer definition. The Art Therapist does not interpret the images. Art Therapy touches all aspects of a person. The overall objective of Art Therapy is to enable the person to change and grow on a personal level. I am particularly interested in the development of the creative process.

Art Therapy Workshops A typical day starts using paper and pencil, and the use of adjectives to best describe a way of feeling, followed by drawing; taking a line for a walk around the feeling to give it a form; clay work; followed by painting and the use of colour to give amplification to the feeling explored. In summary, the Art Therapy Days focus is to give a form to feelings. The next workshop day is 2 July 10-4.30, the focus of the day is to explore your relationship with yourself.  You will be provided with all art equipment, tea and coffee. There are numerous tea rooms in the village where  you can buy lunch. You will need to wear warm clothes. No experience is necessary though experience is  welcome. See my website for bookings http://www.marielaywine.com/acatalog/Art_Therapy.html

HIGH OCTANE: what happened next

So, the serious work began, in the studio, where I left off on the art therapy day. On the same paper, with the same painting, I began to experiment with a high, intense yellow on the red-green-black background that was already present. I applied thin layers of this yellow, followed by a red glaze, and then reapplied the yellow. When I reached the level of intensity on paper that truly reflected the tension I was feeling in my body, I stopped and allowed the painting and my intuitive-self to ‘rest’.

I find that the creative restlessness comes and goes in waves. Among other things, I notice a change in the use of colours. However, tension has a ‘sell-by date’ and begins to dissipate. As I am not finished, I have to find a way of keeping it alive. This time I used the music of Górecki, and found that the wave motion stopped and the tension settled in again.

 And then I noticed a change in colour:

And finally I was out of this phase: 

 And the body of work comes to an end.

To produce these works I spent two weeks painting solidly, almost night and day. 

The next period is spent ‘sitting’ with the paintings. This is a period of looking with a critical eye to discern whether or not each painting is finished. This is also the period where I have stepped back into myself. The intuitive-flow is no longer present so any changes made to the painting are from a personal ego and this has nothing to do with painting.

Between these periods of heightened tension and creative restlessness, I experience times when my creativity is subdued but I am waiting for the muses to return. I call these periods of ‘hunting and gathering’, as I am getting myself and my studio together so I am ready when I experience that ‘frisson’.

This period involves ‘clearing the decks’ and preparing materials; boards, paint and four or five sets of palette knives. I order my paint by intuition, studying the art material catalogue, going over and over colours from past experience or that are entirely new to me and hoping I have got it right.

This phase can last several months, but before this particular body of work – the ‘High Octane’ series – it was almost a year.

HIGH OCTANE: a different kind of energy for painting

I want to explore the idea of using high tension within the body – and transferring it onto a surface – as a source for a painting. Have you ever imagined what such a painting might look like? The following painting is the result of this process:

How did this come about? The trigger was an art therapy day called ‘Giving feelings a form’, held in my studio on 12 March 2011. The preliminary exploration that took place at this event led me to a feeling that’s been with me all of my life and helped me to become aware of the effect it has on my body.

The first challenge was to identify its form. I examined the feeling and recognised that it travels up and down my spine in a straight line. When the spine gets ‘filled up’, the ‘overflow’ gains momentum and fills up the spaces in the joints – the ankles, knees, elbows, wrists, fingers and, on rare occasions, the back of my neck.

The second challenge was to give this feeling a colour. On the art therapy day I had used black, green, red and some yellow on a large sheet of packing paper. However, since the feeling is so intense, my overwhelming thought was now to create the piercing colour that emanates from a halogen bulb. I began to experiment with blues, purples, white, etc, but these colours did not speak to me of high tension.

The next day I placed the art-therapy-day painting in a good viewing place. I spent the next few days just looking and allowing my ‘intuitive eye’ to flow over it, with the colour challenge in the forefront of my thoughts. This action to me represents the beginning of a dialogue between me and the painting. It is where the intuitive free-flow starts and will take me along the journey of a painting from beginning to end. It is also the moment when the personal ego prepares to withdraw to allow the creative ego to step forward and do its work.

I left the initial painting and the intuitive part of myself in this space for a couple of weeks – a form of ‘sitting and waiting’ for the right moment.

During this period I was waiting for the ‘frisson’ – an indication that ‘the time has come’. Frisson is a French word to describe a shiver that travels through the whole body. The experience, for me, arrives with a restlessness accompanied by a very high level of tension (my tutor in art school called this ‘a visit from the muses’). This means living, eating and sleeping with these feelings as I pour myself into my work.

Then one morning, I woke up with the feeling that the ‘moment’ had arrived. I was awakened by a ‘frisson’; now that the ‘muses’ had arrived, whatever was on the agenda was set aside and serious work began!

Check back next week to find out what happened next. 

Until then,

Marie