Pictorial Space throughout Art History: Cézanne and ... - ARAS

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ARAS Connections Issue 2, 2012 made him stronger in his dealings with people. I have shown that a plastic painting is strong because it is constructed of balanced forces (see strong). An individuating person tends to be more sensitively related to limits or boundaries, to the separation, for example, of work from personal life |64|. “Melissa” tried to violate boundaries when she visited friends and demanded all their time. She would not recognize that they needed time for themselves, that they were separate from her. When they spent evenings with her but not whole days, she became unconsciously enraged. Nor was she conscious of the destructiveness which gave rise to her demands in the first place. Melissa would not accept that her personal space had limits. Because she could not take the measure of her inner life it could not develop. As I explained earlier, a plastic painting is sensitively related to its own boundaries. Individuation tends to unify. Wendy (the writer) could not accept intimacy. During her analysis she developed a compulsion to check simple tasks many times in one day (door locked, switch off, and so on). After years of work she recognized that her obsessive-compulsive behavior expressed her fear of losing control. She feared being penetrated and changed by another person. She was divided against herself, both longing for relationship and compulsively defending against it. As she became more conscious of these contradictory impulses she became more unified. She could then accept more penetrating relationships. You have seen that a plastic painting is always unified. Increased internal space makes room for creativity |10|. “Bjorn” discovered in his sixties that he could write poetry. He had always enjoyed reading poetry but, because of his parents' envious attacks, had believed he was The images in this paper are strictly for educational use and are protected by United States copyright laws. 70 Unauthorized use will result in criminal and civil penalties.
ARAS Connections Issue 2, 2012 not creative. He said that each poem was like the grail question which, when asked, broke the evil spell of his “you-are-not-creative” complex. Without this creative expression he had always felt frustrated and off-center. He had to suffer his rage at his lost years of creativity. Creativity is a form of play. As he learned to play in poetry Bjorn became more playful with his friends, joking and making them laugh. In painting the problem of pictorial space gives unlimited scope for creative play (see Creating pictorial space; The play of movement). Individuation is passionate |65|. Bjorn learned to relate more passionately to his analyst and to his friends. Fry described how Cézanne's paintings integrate passion within a formal structure (see Dionysus and Apollo). Individuation leads to a more conscious integration of psyche and soma |66|. A person is less likely to somatize, less likely to express psychological problems as arthritis or high blood pressure or ulcers. He or she is more able to take pleasure in sex and exercise without using these as a substitute for psychological life. As a child, Bjorn (the poet) had denied his anger, fear and longing, stored them in his body, then split off his body from his conscious sense of self. In adult life his body expressed these feelings as ulcers and back pain. These symptoms also expressed his split-off creativity. As he became more conscious of his feelings Bjorn began to exercise more vigorously and to write. The subjective experience of being “in the body”, cannot be conveyed in words. I sense it when I watch a deer running in the wild. In painting, pictorial space (“psyche”) is integrated within the physical reality of the flat canvas (“soma”). (See Embodiment) The images in this paper are strictly for educational use and are protected by United States copyright laws. 71 Unauthorized use will result in criminal and civil penalties.
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