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Henley, D. R. (1991). Facilitating the development of object relations through the use of clay in art therapy. American Journal Of Art
Therapy, 29(3), 69.
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FACILITATING THE DEVELOPMENT OF OBJECT RELATIONS THROUGH THE USE OF CLAY IN ART THERAPY
Many individuals with developmental disabilities that include autism, symbiosis, and mental retardation, as well as people sustaining
certain physical disabilities such as blindness or deafness, may have an impoverished or fragmented sense of self. Therefore, they
may experience difficulty relating to others. Thus, a key issue for the art therapist to address is the impaired object relations of these
persons.
As a complement to Freudian drive theory, which focuses on how an organism discharges its impulses, object relations theory
offers the clinician a developmental continuum for understanding people's needs. Key issues of object relations theory are the
balance between internalization, externalization, and modulation of affect; the capacity to develop symbiotic attachments and to
subsequently separate with minimum anxiety; and to individuate without splitting the maternal object into irreconcilable "good" and
"bad" parts. In this paper I will explore the development of object relations using art therapy and art education with three young
adults. One young man was retarded with psychotic features, another was a blind young man who was diagnosed as having a
borderline disorder, and the last young man had a hearing loss and behaved in an autisitic-like manner.
Theoretical Considerations
Object relations theory plots the developmental sequence of maturation and subsequent attachment to objects. "Objects" in the
psychoanalytic sense refers to persons who or things that are psychologically significant to the individual. This theory examines the
quality of these relationships and concomitant behaviors as they shape the individual's sense of identity and other ego functions
(Brenner, 1974; Hamilton, 1989).
Mahler, Pine, and Bergman (1975) proposed a sequence of stages through which an infant passes during the first 3 years of life.
The infant/mother relationship of this period bears heavily upon future psychological functioning of the maturing child. Authors
emphasize the successful negotiation of early developmental stages: the formation of a symbiotic attachment with the mothering
agent, separation from this agent with increasing self-determination, and eventual individuation whereby a degree of autonomy and
healthy self-concept lead to productive interpersonal relations with family and others. Should the child's progression past these
milestones be thwarted, either because of congenital or environmental trauma, disturbances in development occur. Individuals may
present clinical symptoms because physical or emotional insult is sustained during a period when self-concept and relations with
others are vulnerable and in the process of formation.
Fraiberg (1977) gives numerous examples of babies with blindness who, because of sensory deprivation, do not explore their
environments, including such crucial areas as the mother's face or body. Without such exploration maternal bonding is profoundly
difficult. Often these children languish, excluded from the pleasures that come with interpersonal contact and nurturance.

Similar behavior may be found in an individual with autism or symbiotic psychosis who has sustained neurological damage or
experienced environmental trauma. Individuals with mental retardation may fail to mature as a result of brain damage that may be
aggravated by sensory deprivation. This deprivation is often due to institutional environments, which may fail to nurture and
stimulate the child to interact affectively.
Many art therapists have addressed alienation from an object relations standpoint. Robbins (1987) discusses the individual's loss of
boundaries and regression to fusion states through transference. Using mirroring techniques, Robbins offers emotional responses
that promote client empathy. The lack of empathic responses has been designated by Grandin (1987), in her astounding account of
her recovery from infantile autism, as the greatest obstacle to overcoming disturbed object relations. In response to this deficit, the
client/therapist relationship should attempt to provide a safe psychological space, bridging inner and outer reality (Winnicott, 1953).
The art process itself can be viewed as transitional, whereby another "holding" environment is created within which object relations
can develop (Lachman-Chapin, 1987). Artistic work resembles the transitional object, lessening the tension that is often generated
in traditional psychotherapy. Particularly with autistic patients, the challenge to co-exist with the therapist, let alone interact, can be
extremely problematic. The art process can diffuse such confrontations by deflecting the tension as a kind of buffering or soothing
agent, which in turn enhances self-esteem and a cohesive sense of self (Kohut, 1971).
Applied Ceramics In Art Therapy
I chose to work with clay with my clients because of its capacity to promote sensory stimulation and its tendency to absorb and
redirect the discharge of aggression. Its technique-intensive character encourages demonstration, "hands-on" teaching, and other
personal exchanges as part of the normal course of its use. In addition, clay's versatility as a medium can be scaled to many
developmental stages. At the pre-art stage, clay can be used for play or sensory exploration. Once an appreciation of product is
established, the rudiments of pottery making can be taught, following which figurative sculpture can be introduced to explore the
expressive mode. Often the art therapist uses all three modes, depending on the emotional and artistic needs of an individual.
The therapeutic application of clay modeling with people who have impaired object relations can be traced back to the early work in
art education by Viktor Lowenfeld. Lowenfeld's work (1957) with children having multiple impairments illustrated the use of clay
modeling as a means of developing self-awareness, self-image, and self-concept, and as a means of strengthening a relationship
between self and others. Lowenfeld formulated a theory of perception in which objects were related to in haptic and visual terms.
Haptic perception is a subjective, kinesthetic mode of experience. Haptic artistic expression is expressionistic rather than reality
oriented. The features characteristic of haptic sculpture are often poorly differentiated or distorted by those individuals with impaired
object relations.
For example, Figure 1 was created by a young man with partial vision who was psychotic. The diffused features and overall
expressionistic approach to figurative form and surface treatment are typical of haptic functioning. While many artists work
productively in such a manner, this young man's poor reality testing, impoverished self-concept, and autistic-like relationships
suggested that his haptic experiences were pathological.
In contrast, visual perception infers a more objective perception of visual stimuli which often results in more realistic or mimetic art
productions. Oddly enough, the perceiver need not be sighted. For example, Figure 2 presents a sculpture by a young woman who
is completely blind. This woman worked in an almost methodical manner to create many relatively realistic self-portraits. Her
sculptures were quite accurate. Despite her inability to see, she skillfully recreated negroid features, skin tone, and objects of
adornment, including replicas of the jewelry she wore. She had a remarkably strong sense of self and her relationships were
maturely formed.
Kramer (1979) has written extensively about clay as an integrative medium used to address confusion and distortion of the body
ego. She discussed issues relating to transitional phenomena in the case of Eduardo. This child had symbolically evoked the
absent mother through clay sculpture, and thus mollifed his anger and the trauma of their separation. I have written a similar
account wherein a child with symbiotic psychosis eventually overcame separation panic and tactile resistance by using clay as a
transitional object (1986b). He was able eventually to accept his rudimentary clay figures as a substitute for my presence and
carried them back to his residence, probably as a means of defusing separation anxiety.
Clay as a Metaphor for Psyche
Clay taps into the depths of human consciousness. The impulse to squeeze, roll, and form clay is deeply ingrained, as evidenced by
the spontaneous manipulations of people in art therapy. A simple pot can assume functional, esthetic, metaphorical, and even
metaphysical proportions.
The potter's art requires robust interaction, beginning with digging clay from the ground, forming it into an object, and transforming it
through the use of fire. Clay's plastic, malleable nature gave birth to the metaphor that it possesses a life and body of its own.

Forming a pot is essentially an exploration of both inner and outer space. A successful pot negotiates the subtleties of balance,
form, and surface in a harmonious integration of its interior and exterior.
M. C. Richards (1989) relates a Zen-inspired parable of an ancient Chinese potter who scolds an admiring critic for complimenting
the mere outward appearance of his pots. He admonishes that what he is forming lies within, that he is only concerned with what
remains after the pot has been broken.
Since the writings of the 13th century, Sung dynasty pots have been described using terms such as stability, self-composure, and
introspection. This line of metaphorical analysis continues virtually unchanged in contemporary ceramic criticism. Kuspit (1987),
writing on the ceramic sculptures of Stephen DeStaebler, makes constant reference to the processes of differentiation, autistic
isolation, diffusion of stimulus barriers, and the forces of regression as metaphors for DeStaebler's volcanic, archeologicalappearing figures. He quotes at length from Mahler and Winnicott, citing DeStaebler's attempts to reconcile the "longings for
autonomous existence and equally powerful urges to surrender and re-immerse oneself in enveloping maternal fusion states" (p.
28).
Richards (1989) continues in this vein in her search to align the forces of regression and integration. For Richards, the process of
"centering" is a metaphor for the unification of inner and outer states, whether they are on an interpersonal, intrapsychic, esthetic, or
functional level.
The therapeutic worth of clay frequently stems from its sensory qualities, which lend themselves to robust manipulation and
interaction. Often, a child will come to view the art therapist as a rather benign and benevolent object who comes bearing gifts (i.e.,
a tantalizing array of media). These are often the first instances where the child begins to relate to the therapist as a "needs
satisfier" or as a mothering agent. With continued interest, availability, and acceptance by the therapist, these associations can be
exploited until more mature forms of relating can be achieved.
This relationship may become more durable and eventually assume a give-and-take quality. Once this occurs, the therapist can
begin to increase expectations of the child with regard to the quality and quantity of interactions. For instance, after 2 years of
fostering unconditional acceptance with a child who was deaf and blind, I began to require him to use sign language to signify what
materials he wanted from me. Although the child was resistant and frustrated at first, he resigned himself to signing his needs as a
matter of necessity. Eventually this confrontational technique led to spontaneous expression.
In addition to confronting possible interpersonal difficulties, the art therapist using clay may find that the medium itself may generate
resistance. Clay must often be introduced in a cautious manner, especially with children who have severe pathology. I often begin
with simple demonstrations of the clay's plastic qualities. I will roll coils, dangle them in front of the child, and drop them gently on
the table to invite visual responses. Eventually I may place a coil between a child's fingers, hoping for spontaneous manipulation.
Should the child's inhibitions or tactile defensiveness give way to curiosity, tentative attempts to use the clay may occur. Once this
begins I may mirror the child's movements to reinforce activity. After a period of parallel play, I will slowly increase my interactions
until the child demonstrates the capacity to withstand more intimate or complex interventions (Henley, 1986a).
Case Accounts
These three abridged case studies illustrate how I used clay with young adults to encourage object relations development. The first
case deals with a young man who was mentally retarded and psychotic and whose object relations were seriously disturbed. The
second case focuses on clay as a vehicle for expressing anger and anxiety by a young man who was blind and had a borderline
personality disorder. The third case study traces the development of self-image and interpersonal relationships in a high-functioning
young man with psychotic and autistic features.
Bill
Bill was a 25-year-old man who presented moderate mental retardation with psychotic features. He was a member of a weekly art
therapy group that met at my studio. Bill was large and slow-moving. His responses to others ranged from superficial politeness to
catatonic withdrawal. He worked well in the familiar studio setting, where studio routines and ceramic processes became part of the
client/therapist relationship.
Central to Bill's delusions was his insistence that he was not truly human but had been "manufactured" in a factory and was a
machine. Bill's bizarre affect and flat, monotonal voice and echolalic utterances bore out these statements, as did his drawings. His
self-portraits were characterized by geometric shapes that sported arrays of turning knobs and viewing screens.
As Bill became more psychotic, his regression was reflected in his art. During one such period of regression, Bill retreated to rolling
countless coils and clay balls, which he stacked unceremoniously on top of each other. In order to support Bill through this period of
decompensation, I introduced Lowenfeld's method of closure (1957).

Closure entails beginning a rough outline of a form, then encouraging the client to elaborate on the image--thus, in a sense,
"closing" it. Closure is used to create motivational momentum and provide a conceptual anchor for the client. In our therapy session
I formed the rudiments of a head and bust for Bill. It was without features but suggested an integrated form. I then created one for
myself, building the features in ways which encouraged Bill to mirror my movements with his piece. I attempted through mirroring to
cement a bond between Bill and me by working toward a common goal through separate physical activities. He was able to
measure my affective responses and mimic my hand movements as I created a figure.
Once I made the basic features of the clay figure, I prompted Bill to give this figure some facial expression. I demonstrated how lips
can be made to smile, frown, or open wider by using two thumbs to push on each end of the mouth. I also showed him how to cock
a head slightly to suggest movement and attention to a subject. I encouraged Bill to make his sculpture more human and to give it
expressive qualities.
While these strategies have worked on numerous occasions with others, it became clear that Bill could not animate his figures. On
one clay figure Bill built a pair of electrical contacts onto the temples and neck in the style of Frankenstein's monster (Figure 3).
Several sessions later I again used the closure method with Bill. This time I introduced two standing figures and encouraged Bill to
elaborate the figures' features. I hoped Bill would place the two figures into poses which suggested some form of interpersonal
relationship.
At this time Bill's aging and doting mother was hospitalized. Bill modeled the limbs of the clay sculpture into a pose in which the two
figures are merged at the shoulder. The threat of losing his mother may have prompted Bill to create an image which moved from
isolation to union. The sculpture may also have reflected the dynamics of our therapeutic alliance, with each figure supporting the
other. However, Bill's figure also showed that my bid for his differentiation and autonomy failed.
Rashid
For a person who is blind, reality-testing in drastic or threatening environments is often impossible. When thus confronted the
person may react with a "fight or flight" response, by striking out, by eloping, or by withdrawing (Tinbergen & Tinbergen, 1983).
These responses were exhibited by Rashid, a 28-year-old blind man who was an outpatient at the Jewish Guild for the Blind in New
York City.
When events occurred that disurbed Rashid, he often regressed to psychotic ravings and aggressive behavior. One such incident
was a report of a racial attack in which a black youth was beaten with bats and then struck and killed by a car. This incident
triggered widespread unrest among black and white communities. In art therapy, Rashid discussed this attack with his peers but
soon became hysterical and began to rave about the persecution of his race. He cited instances where he felt that he was a target
of racial bigotry and feared for his life. Rashid began to pound his clay, while shrieking and cursing.
I tried to calm Rashid by speaking in soft yet firm tones while directing his hands to continue manipulating the clay to displace some
of his aggression. Once his chanting lost intensity, I sat with him and proposed that perhaps he could make something that
communicated his feeling about injustices. Rashid began to model a figure with intense squeezing, pulling, and pinching
movements.
The resulting sculpture (Figure 4) depicts Rashid holding a bat, which was the instrument of death at Howard Beach and a symbol
of oppression of black people in general. By holding the weapon in a posture of outrage, Rashid announced that the white culture
could not help but "see" the error of its ways.
Given the strength and resilience of our relationship, Rashid made progress in reconciling some of the splitting that occurred during
his decompensation. This re-integration was of course greeted with great relief by the rest of the group--many of whom had formed
the most tentative object relations themselves and were liable to become greatly disturbed when their own environments became
volatile. As in the case of Rashid, each of the clients was supported in using the clay as a means of absorbing and channeling
intense or overwhelming affect. In this way full-scale decompensation was averted by redirecting affect through the art process.
Juan
The next case plots the course of psychological maturation of a 21-year-old man. Although he had a heating impairment, Juan's
emotional disturbance resulted from a disastrous home life devoid of nurturance. Juan's parents had kept him locked in the
basement and only let him out in late evenings to roam the streets. After being picked up by the police, Juan was taken from his
parents and sent to a state psychiatric hospital where he received art therapy treatment for 4 years.
As with many individuals with psychosis and autism, Juan had mechanical ability. Evidently during the nights he roamed, Juan
collected all kinds of mechanical junk with which he experimented during his hours of isolation. Although he behaved like the Wild
Boy of Aveyron (Itard, 1962), eating off the floor and biting people who provoked him, Juan was able to assemble and reassemble

complex appliances without receiving prior instruction. These skills eventually were transformed into mechanical drawing, where he
recreated the schema of the most intricate electrical gadget (Figure 5).
One of my most important goals for Juan's treatment was to increase and improve interpersonal relations while also firming up his
own self-concept. My artistic objective was to get Juan to portray subjects that live and breathe as sentient beings.
Because Juan's thinking was concrete and also because he limited himself to drawing only machines with the nub of a #2 pencil,
the switch to clay remained problematic. Similarly, when he was urged to paint, his response was to paint a schematic
representation of the watercolor paint box itself. Departure from the medium of choice may dramatically diminish the art skill of
individuals with autism.
For this reason Juan required an approach that recognized and harnessed his pathological attachment to mechanical objects. I
decided that Juan might be taught to throw pots on the potter's wheel because he had obsessed over its motor and bearings in
earlier sessions.
An integral part of Juan's training required human interaction. No amount of compulsive tinkering would enable Juan to master the
throwing process: the mechanics of throwing would need to be taught to him by another, which essentially forced Juan into some
form of a relationship. Juan reluctantly allowed one of my art therapy interns, Anne P. Johnson (1985), to teach him the rudiments of
throwing.
Mastering the potter's wheel is difficult. It demands concentration, perseverance, motor strength, and coordination--attributes which
are usually scarce in the psychiatric setting. However, Juan concentrated well on learning to throw because he was obsessed with
the mechanical process.
Juan's early interactions with the wheel were more interpersonal than operational. He studied the motor, its drive mechanism (this
wheel was a combination kick/electric), the flywheel, and the electrical circuitry as if he were getting to know a friend. When Juan
struggled to center the clay on the wheel, he was frustrated and almost defeated, but this struggle offered Anne the opportunity to
assist him. Placing her hands on his, Anne demonstrated to Juan the subtle sensation of pressing parts of the clay to coax it into
the center of the wheel. Such contact would ordinarily be resisted by someone who was autistic; however, because Juan had an
intense desire to master this machine, he accepted Anne's intervention.
After weeks of practice, Juan finally centered the clay. Hoping to record the event through drawing, Anne asked him if he would
draw himself successfully centering. Juan's efforts revealed his disturbed self-object. Instead of depicting himself during this
victorious moment, he drew the art therapy intern (Figure 6) as an impoverished stick figure. In contrast, the machine is recorded
skillfully, in detail.
Juan continued to draw his experiences in later clay sessions. A later piece (Figure 7) depicts the art therapy intern again working at
the wheel. It is significant that in this version the figure has become fleshed out while the machinery is much less elaborate. As I
entered the session, Juan excitedly motioned that he had succeeded at centering the clay and rapidly and skillfully drew a four-part
cartoon (Figure 7) that depicted the mechanics of the centering process.
Although the client continued to avoid depicting himself and the features of his art therapist as mask-like and twisted, it was clear
that greater identification and attachments were being established. Weeks later, after a particularly fruitful session at the wheel,
Anne suggested that Juan draw portraits of himself and her. Using a mirror, which he ordinarily avoided, Juan drew the curious
picture in Figure 8. It is an unusual drawing because both the front and back of the figures are portrayed simultaneously. The
portrait is also unusual because the frontal view of the mirrored images is carried through in the rear perspective, with Anne's arm
cut off. Juan did, however, imagine what the rear view would look like and depicted details such as the neatly tied throwing apron.
The images are a paradoxical mixture of concreteness and abstraction often seen in artwork of people who are autistic.
The culminating work of treatment (Figure 9) found the client finally equipped to confront the self and art therapist with a degree of
sublimation. Both are depicted again as mirrored images, perched confidently, with pleasant affect, upon the now mastered
mechanical object. Human figurative detail is elaborated with minimal distortion, with a drawing prowess that Juan usually extended
to mechanical objects only. In this moving work, Juan post-scripted the composition with three small vignettes in which his hands
and those of Anne Johnson are depicted gripping the pencils. The two hands become one in an apparent exchange. This veritable
celebration of technical triumph and symbiotic attachment has been communicated in a drawing of compelling sensitivity and
economy. It bears witness to the often indivisible relationship between the psychic healing process and esthetic development, as
both progress, paralleling growth.
Anne's departure from Juan's therapy program resulted in object loss and thus anticipated regression. Upon my reintroduction as
primary therapist, Juan's throwing skill was maintained, though the quality of his relating to me had clearly suffered. His throwing

techniques had developed beyond the usual cylindrical pots to large platter forms (Figure 10). Using a scraffito technique of painting
a contrasting engobe (liquified clay) onto the flat interior of the plate, Juan then scraped through, revealing the original clay body.
Using a wire loop tool, Juan cut away the dark slip, creating a humanoid figure. He then added a dragon fly, which looked more like
a blueprint for an airplane than an insect. Clearly Juan was adjusting to the loss of Anne. However, new-found ego strength
continued to drive the art process as well as to help him make the transition to a therapeutic alliance with me (Henley, 1989).
Discussion
These three case studies illustrate object-relations development on several different levels. In Bill's case, mental retardation almost
certainly prevented the progress attained by Juan, whose problems were due mainly to environmental factors. Bill's prognosis for
reaching object constancy (Mahler et al., 1975) during the 3 years of treatment was severely limited by the complex interplay of
mental retardation and emotional disturbance.
Bill's capacity for adaptive functioning was tied to the amount of environmental stress he had to endure. When he was in good
physical health and stress was minimal, Bill was able to create with some degree of relatedness and reality orientation. However,
with the onset of a new-found sexual drive, the death of a close family member, and the hospitalization of his mother, Bill regressed
under the strain.
Clay therapy served to modify Bill's regression. The manner in which we used clay played a crucial role in warding off further
decompensation. Closure proved to be vital. When I presented Bill with clay in an open-ended or unstructured way, he was given to
aimless sensory-motor play. His efforts were often limited to smearing, crumbling, and other infantile forms of activity similar to his
disintegrated drawings. When I presented a partially created clay figure to Bill, he was encouraged to make use of the clay's
integrative features.
Working together with clay may also be construed as an act of joining, in which Bill and I were bound together in a common cause,
where perhaps I functioned as his auxiliary ego. Both of Bill's sculptures got quickly to the root of his issues, offering him an
opportunity to deal with them.
Rashid and Juan made clear progress despite their psychosis. In fact, Juan began art therapy treatment displaying much more
disturbed behavior than did Bill. Juan's aggressive acts were often calculated, his habits highly repulsive, and his aversion to people
much more pronounced. Although Juan also possessed an intense, self-sustaining motivation to create, establishing a therapeutic
alliance with him was problematic. He was productive and satisfied within his isolated world.
Given Juan's pathological identification with mechanical gadgetry, I chose an art activity which centered on this interest. I calculated
that once Juan was engaged with the potter's wheel, the technical obstacles he would encounter would probably require instruction.
A teacher would support him in his attempts to master this equipment while forming a therapeutic alliance. These strategies worked.
Juan endured the intern's presence and physical contact during his pot-throwing training. The process of learning to use the wheel
set the stage for Juan to make important attachments. The potter's wheel probably took on aspects of a transitional object.
His eventual mastery of the wheel indicates a pivotal step toward the development of object constancy. This process was almost
certainly supported by the continual presence of Anne. Anne provided Juan with much-needed nurturance and ego support, as she
worked with him in an atmosphere of unobtrusive contact that enabled him to gain a sense of achievement through his work
(Kramer, 1979).
Haptic and Visual Functions
In all three cases, the art therapy process allowed the clients to draw on both haptic and visual functions, depending on their
therapeutic and creative needs.
Bill's tactile experiences of pushing, squeezing, and smoothing clay allowed his regressed, infantile affect to be explored through
constructive means. Haptic-oriented clay modeling provided Bill with psychological space through which his diminished affective
and sensory impressions could safely take expressive form.
In Rashid's case, both haptic and visual sensations contributed to the therapeutic process. His need to displace powerful affect onto
the clay complemented his need to visualize an artistic solution to the challenge confronting him.
In Juan's case, the integration of both haptic and visual functions supported his artistic and therapeutic experience. Throwing pots
allowed Juan to lessen tactile defensiveness and become desensitized to those haptic sensations (such as touching another
person) which previously upset him.
Juan also became aware of new functions of the body (such as the use of finger tips during the centering process). Particularly
when he was centering, Juan had to monitor and control his aggressive impulses so he didn't destroy his work.

Technical Considerations
Art therapists who use clay must possess a thorough knowledge of the therapeutic implications of its different properties. The highly
stimulating tactile and olfactory qualities of clay can engender different responses; for instance, wet, cold, or brittle clay may breed
frustration. Ideally, a well-aged, buff-colored clay body with a fine grog content that lends"tooth" (extra strength) is well suited for
therapeutic applications. Its relatively clean and malleable qualities will stand up to the overworking and abuse that often occur in
therapeutic programs.
Clients cannot be held responsible for the craftsmanship of their work. The therapist must make sure limbs, facial features, or other
elements are secured because disintegration may carry metaphorical implications for the client.
Clients similarly cannot be expected to insure the proper thickness of their work. Each piece should be probed with a needle tool to
make sure that the walls are not over 1/2 inch thick. Care must be taken to insure the fire-ability of each piece.
The finishing of ceramic pieces also warrants close attention. In many cases, the use of acrylic paint may he more advisable than
glazing because of the unpredictable outcome of kiln firings. As Juan's case suggested, therapeutic and esthetic progress often go
hand in hand; therefore, it is vital that high-quality materials, equipment, and decorative techniques be used to support clients' selfconcept and self-esteem. Often, such support comes from the therapist who can elicit both therapeutically and esthetically rich
outcomes.
It is important that the integrity of the ceramic techniques not be compromised because of therapeutic application. Although
adaptations may be called upon to compensate for lack of manual dexterity, tectile defensiveness, regressive acting-out, or a lack of
technical skill, esthetic integrity can remain central to the therapeutic process.
Finally, it was crucial to Juan's productive treatment outcome that the art therapist share in the creation of ceramic art. Throughout
this study, Anne and I continued to develop our own skills in sculpture and throwing. This mutual sharing of the art process allowed
us to process issues pertinent to the treatment of clients through joint supervision and the continued practicing of this craft. Only
then can one retain the proper empathic stance, as clients struggle with this often difficult yet expressive material.
PHOTO (BLACK & WHITE): Figure 1
PHOTO (BLACK & WHITE): Figure 2
PHOTO (BLACK & WHITE): Figure 3
PHOTO (BLACK & WHITE): Figure 4
PHOTO (BLACK & WHITE): Figure 5
PHOTO (BLACK & WHITE): Figure 6
PHOTO (BLACK & WHITE): Figure 7
PHOTO (BLACK & WHITE): Figure 8
PHOTO (BLACK & WHITE): Figure 9
PHOTO (BLACK & WHITE): Figure 10
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Henley, D. (1986a). Approaching artistic sublimation in low functioning individuals. Art Therapy, 3, 67-73.
Henley, D. (1986b). Emotional handicaps in low functioning children: An educational/art therapeutic interventions. The Ares in
Psychotherapy, 13, 35-44.

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~~~~~~~~
By DAVID R. HENLEY
David Henley, A.T.R. serves as Chair and Associate Professor of Art Education and Art Therapy at the School of the Art Institute of
Chicago. Much of his clinical work in art therapy has been with children with a range of special needs; these include young people
with emotional disturbance, hearing and visual impairments, and other physical handicaps. A long-time studio artist, he currently
works in high bas-relief on plaster, paper, and canvas.

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