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first study in Chapter 2.
In Chapter 2 we explored how art therapists with diverse training
backgrounds and perspectives on art therapy used, observed and interpreted the art form in the assessment of adult clients’ mental health. Despite their different backgrounds, the art therapists mainly applied two- dimensional art materials in art therapy observation. They systematically made use of the diverse art materials’ properties, i.e. their degree of physical contact, intrinsic structure (e.g. fluid or resistive) and scope of technical possibilities. The art therapists observed how clients interacted with these art materials’ properties – material interaction –, how clients experienced the art materials – material experience –, and what they made – the art product–. Material interaction emerged as a core concept that referred to the clients’ observable behavior during their interaction with art materials’ properties in the art-making process. Material interaction consisted of the combination of several categories such as movement, dynamic, space and pressure. The art therapists found it important to see whether a client actually made use of the art materials’ properties. In terms of mental health, art therapists found clients that used and experimented with the art materials to be more ‘flexible’. Flexibility was seen as the client’s capability and openness to try new materials or use them in different ways. Art therapists related this to experimentation and play during art making. Art therapists evaluated clients who demonstrated minimal or no use of the art materials’ properties as having the tendency to ‘rationalize’. Rationalization referred to the client’s need for structure, perfectionism, cognitive control and rigidness.
Material interaction connected two other aspects of the art form: material experience and the art product. As to material experience, the art therapists stated that clients’ material interaction elicited cognitive and emotional experiences during art making. For example, clients might experience frustration when working with fluid art materials that are less controllable or, in contrast, they may experience relaxation or joy. Observing the clients’ material experiences gave insight into if and how clients were able to deal with, allow and express negative emotions.
In relation to the art product, the art therapists pointed out that traces of material interaction, i.e. how the art product was made instead of its content, became visible by the formal elements of the art product such as line, contour and shape.
These findings directed the next study in Chapter 3 in which we included 132 | Chapter 6





























































































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