In Kazakh culture, it is believed that the development of friendship or love occurs because people are truly seen. Therefore, in Kazakh, the phrase “I like you” translates to “I see you clearly”.
felt lost, unable to defne who I truly was or what really wanted. questioned my job, my relationship, my connection with family, and my identity as part of the LGBTQ+ community. Despite striving to follow all the "right" advice and do all the "right" things, felt an overwhelming emptiness, as if vast, bottomless black hole had opened in my chest—flled with pain, yet too heavy to share.
Through Person-Centred talk therapy and art, my pain was fnally seen, acknowledged, and given form. In witnessing my sufering, also discovered an innate, unwavering life force within me which had always sustained me, though nearly lost sight of it.
This project employs stop-motion animation to explore how my inner tensions and fuctuations evolved throughout therapy. The artwork aims to refect how the power of "seeing" truly witnessing emotions and struggles transformed my inner world, which contributed to self-awareness and fostered self-acceptance.
Research
This project integrates principles from Person-Centred Therapy, as developed by Carl Rogers, with insights from Martha Beck's
- SOCIAL SELF VS ESSENTIAL SELF
In her book Finding Your Own North Star: Claiming the Life You Were Meant to Live life design coach Martha Beck introduces the concepts of the "Social Self" and the " Essential Self." Through numerous real-life examples from her clients, she emphasises the importance of recognising one's true desires and illustrates the severe consequences that arise when they are greatly confict with moral and societal standards. Before engaging in therapy, this book served as an enlightening read for me, laying the foundation for my subsequent pursuit of my true self.
Beck, Martha. Finding Your Own North Star: Claiming the Life You Were Meant to Live New York: Crown Publishers, 2001.
- PERSONAL ANALYSIS: MY ESSENTIAL SELF QUALITY
- PERSON-CENTRED THERAPY
Rogers, Carl R. Client-Centered Therapy: Its Current Practice, Implications, and Theory London: Constable, 2003.
The Total Personality before Therapy： Discrepancy between personal experience and the Self-Structure
The Total Personality after Therapy: Harmoney between personal experience and the Self-Structure
Personal Analysis
Cause for psychological disintegration: Distinct discrepancy between experience and the Self-Structure
Therapy Experience: Exploration
with increasing experiences of unhappiness, fearfulness, and depression possible during later therapy stages.
to be less self-conscious. Their behavior becomes more spontaneous, and they express attitudes more freely, as the self accepts these attitudes and behaviours as integral parts of itself.
PHASE 1. LOST The Suppression of the Essential Self Personal Experience
The absolute dominance of my social self deeply suppressed my essential self. grew accustomed to wearing a thick mask, often acting in ways that did not refect my true feelings. was mostly driven by external validation: excelling academically at the cost of suppressing my playful nature or striving to be “gentle, non-troublesome” by repressing my natural aggression.
State of Being
I developed a profound sense of fragmentation. felt numb, hollow, and deeply pained.
PHASE 2. RE-DISCOVER
Acknowledging Pain and Unveiling the Essential Self
Personal Experience
Many long-buried thoughts and emotions surfaced in therapy, allowing them to be untangled and understood. The pain, once like a black hole, became visible—given shape and size, gently acknowledged and soothed. At the same time, I began to recognise the inner strength that had always steadied me through my darkest moments, pulling me back each time I fell.
State of Being felt as though was coming back to life from a state of deadened silence. A sense of hope emerged. The rigid grip of my social self began to loosen.
PHASE 3. RELEASE
The Release of Suppressed Emotions and the Return of the Essential Self
Personal Experience
Therapy provided me with a safe space to fully release long-repressed emotions. Additionally, painting became another secure outlet for emotional expression.
State of Being
In the early stage of therapy, often found myself unexpectedly triggered by small, seemingly insignifcant events, leading to uncontrollable, overwhelming waves of tears. Meanwhile, stifed parts of me—my passion for painting, my playfulness, and my aggression— gradually returned. Positive emotions increased, though sadness remained a frequent companion.
PHASE 4. RESILIENCE
Integration and Balance between the Social Self and Essential Self
Personal Experience
As therapy progressed, the overwhelming emotional waves began to subside. I became increasingly capable of allowing my returning essential self to coexist with my social self, rather than letting one completely overpower the other.
State of Being
I still experience emotional fuctuations and occasional internal conficts between the needs of my essential self and my social self. However, I am gradually learning how to balance and integrate the two, achieving a state of dynamic equilibrium.
Material Experiment
INITIAL EXPERIMENTS
In a state of relaxed mindfulness, I explored various materials—oil pastels, acrylics, scratch paper, and air-dry clay—to try to represent my Essential Self and my pain.
FINAL EXPERIMENTS AIR BRUSH
The airbrush is so far the most suitable medium have found, as its airfow can cause the paint to subtly dance on the paper, naturally dispersing in a spattering efect that mirrors my life's vitality.
Final Outcome: Stop-Motion Animation
PHASE 1. LOST The Suppression of the Essential Self
PHASE 2. RE-DISCOVER Acknowledging Pain and Unveiling the Essential Self
PHASE 3. RELEASE
The Release of Suppressed Emotions and the Return of the Essential Self
PHASE 4. RESILIENCE Integration and Balance between the Social Self and Essential Self
This project began at the onset of my therapy journey and reached completion only after I experienced full transformation from darkness to light. Initially, aimed to explore my entire psychological development—from birth, examining how my Self Structure formed and diverged from my experiences, and identifying key negative infuences. However, encountered resistance when attempting to detail these infuences, leading me to refocus on the period following the start of therapy. During this shift, I refected on how my therapist gently redirected my attention inward whenever anxiously recounted negative external impacts, gradually reducing their hold over me. Ultimately, this work portrays the transformation of my internal landscape during therapy, highlighting the "seeing power of therapy. I hope it encourages those skeptical about therapy's efcacy to seek the help they need.
All emotions are acceptable and have place and a value -- Rebecca L. Withrow
My emotions - often found to be overwhelmingly complex, are difcult to articulate. When being asked about my feelings or pressed to make decisions, would hesitate for ages or fall into complete silence. Over time, my thoughts and emotions accumulated like a tangled mess of thread, with no outlet for release, leaving me feeling deeply distressed until I began talk therapy and started exploring the use of colours and nonrepresentational art as a way to express my emotions.
Recognising the limitations of verbalising emotions, this project was born from the idea of continuously documenting my feelings and bodily sensations over time. By doing so, I aim to create a more precise and tangible visualisation of my emotions, making them easier to understand and manage compared to traditional talk therapy.
Research
The project draws on and integrates approaches from Art Therapy, interventions from Emotionally Focused Therapy (EFT), and techniques from Body Scan Meditation (BSM).
- ART THERAPY
- EMOTIONALLY FOCUSED THERAPY (EFT)
Personal Experience In therapy, my therapist employs EFT interventions to help me shape unformulated emotions using metaphors and imagery. By assigning forms and colours to my feelings using vivid, concrete language, was able to encapsulate and externalise intense emotions, fnding the process deeply alleviating.
Johnson, Susan M. The Practice Of Emotionally Focused Couple Therapy: Creating Connection (2nd Ed.) New York: Brunner-Routledge, 2004.
- BODY SCAN MEDITATION (BSM)
Personal Experience Over 4 years of meditation has heightened my awareness of bodily sensations, helping me understand the sources of negative or unwanted thoughts and emotions. It has also taught me to approach my feelings with compassion and non-judgment, fostering self-acceptance and emotional balance.
Richardson, Christine. “What To Know About Body Scan Meditation,” Medical News Today, April 28, 2022. https://www.medicalnewstoday.com/articles/body-scan-meditation
Withrow, Rebecca L. “The Use of Color in Art Therapy.” The Journal of Humanistic Counseling Education and Development no. 43(2004).
In my frst art therapy session, experimented with paper sizes and materials. was guided with helpful prompts, like selecting 2-3 favourite colours and 1 least favourite to express my emotions.
When I could clearly sense my emotions, I used a color chart to intuitively select the colour that best represented my feelings, then chose a suitable medium to create an artwork.
Over time, began to identify the connection between specifc colours and my emotional states.
When unable to precisely identify my emotions, relied on intuition to select a suitable medium and then select colours from this medium to create quick, spontaneous art.
WORK IN PROGRESS COLOR MIXING
When the colours selected required blending, the process deepened my understanding of the emotions they represented. e.g. Mixing yellow revealed the diference between the lighter, joyful feel of Lemon Yellow, and the grounded steadiness of Golden Orb.
I prepared a variety of materials and tools for this project to better capture my emotional nuances. Having a wide range of choices also allowed my intuition to guide me more freely. See the attached video for more details on the creation process.]
Although a black hole exists in the depths of my heart, I feel a sense of hope.
OCTOBER
SEPTEMBER
ABSTRACT EXPRESSIONISM
It is an American avant-garde art movement born from the horrors of the Great Depression, world wars, and collective need for a spiritual and emotional reformation. It is marked by abstract forms, expressive brushwork, and monumental scale, all of which were used to convey universal themes like life and death, spirituality, power, struggle, and a range of human emotions.
Personal Takeaway The ability of Abstract Expressionist artworks to successfully convey human emotions and other profound ideas through the absence of recognisable imagery and diverse techniques deeply inspired me to explore non-representational art using various tools and mediums.
Willem de Kooning Expressive Brushstrokes
Lee Krasner Expressive Brushstrokes
29 30
Being stimulated and feeling extreme excitement. Then came the withdrawal symptoms - “I want more.”
Summary: Personal Meanings of Colours
* The sequence of colours, from left to right, corresponds to the timeline of when fully embraced each colour during the painting process.
* Shades of the same colour carry subtle diferences in meaning. Here, I selected one shade to represent each colour while listing all the possible meanings associated with that colour.
The frequent use of certain colours refects the intensity of corresponding emotions at the time. This helps me identify the life events that triggered these recurring colours and shapes, and fnd ways to address or avoid similar situations to maintain emotional balance. Early on, my artwork featured a lot of black, but as my therapy and art project progressed, I noticed a shift towards lighter colours and the disappearance of black, efecting the improvement in my mental status.
THIS IS ME.
love myself when I feel relaxed.
I love myself when am motivated.
I love myself when am energised.
I love myself when act as my true self.
love myself when I show love and kindness.
love myself when set clear boundaries with my family.
accept myself when feel stressed. accept myself when want to lie fat.
accept myself when easily feel tired.
accept myself when hold back my true self.
accept myself when show my aggressive side.
accept myself when desires the love of my family.
INSPIRATIONS
Growing up in China, was deeply infuenced by a perfectionist value system, which led me to only accept the "good" parts of myself those aligned with societal standards, as refected in the pink text above. Suppressing my less idealised side eventually created deep inner confict: "Who am I?" Through long-term talk therapy and therapeutic art practice, gradually embraced my imperfections, allowing my fragmented self to reintegrate.
The project highlights six transformative moments of acceptance that brought me a profound sense of wholeness. Through each artwork, which blends my opposing traits, hope to inspire others to realise: none of us are perfect - and that's okay.
Inspiration
After creating a piece that fell short of conventional standards, a thought struck me: It’s not impressive and that’s okay.” The realisation marked the start of my self-acceptance journey.
Inspiration II
This art therapy activity for selfacceptance helped me embrace my shadow self the parts I dislike and often repress and deny, and acknowledge the coexistence of light and dark within me.
The 6 moments of acceptance were derived from my therapy sessions. Before and after each session, I took notes, documenting the issues was struggling with most shown on the left in pink) and summarising the shifts in mindset and refections gained from therapy shown on the right in black). These notes accumulated to more than 20,000 words over six months of continuous therapy.
Project Refection
While composing the opening poem on acceptance, was moved to tears, experiencing the immense power of unveiling previously unacknowledged aspects of myself. Engaging in this project, particularly through the careful selection and understanding of materials, allowed me to discern subtle diferences among similar elements. This process heightened my awareness of the facets each material represented, solidifying their presence in my consciousness. The six moments of acceptance depicted are merely the beginning: as I curated these instances, recognised that many more aspects await my acknowledgment. This project is an ongoing journey, expanding until fully embrace every part of my being.
The materials used in this project primarily consist of paper in various colours, textures, and qualities. I explored a wide range of paper options to best express myself through the artwork.
Acrylic on Canvas. 40 50 cm. Hand painted. Oil Pastels & Water-soluble Oil Pastels on A4 paper.
- Paper Spike symbolic hardness; fexibility the spikes can stand upright or be smoothed down
Lisa Rodden, Alpine. Paper & Gouache. 60cm x 60cm.
I ACCEPT MYSELF WHEN FEEL STRESSED.
I LOVE MYSELF WHEN I FEEL RELAXED.
ACCEPT MYSELF WHEN I EASILY FEEL TIRED.
I LOVE MYSELF WHEN I AM ENERGISED.
I ACCEPT MYSELF WHEN DESIRES THE LOVE OF MY FAMILY.
I LOVE MYSELF WHEN I SET CLEAR BOUNDARIES WITH MY FAMILY.
Double Layers: (Un)Awareness
- Red & Blue Coloured Illustration + Red Filter good concealment, though the blue beneath may not ideally symbolise love Mariana Savka, Optics of God(2019).
- Tracing Paper + Fire single-use only burnt paper cannot be reused - Tracing Paper + Light Source each layer remains faintly visible, lacking some opacity
Victor Arráez & Miguel Roma, Subjective
- Thermochromic Film heat from hands = heartfelt warmth, conscious efort
- The Healing Power of Mark Rothko's Rothko Chapel
I have always been deeply drawn to works of art that resonate with me on a deep emotional level. After visiting number of contemporary art exhibitions and fnding myself unable to connect with many abstract works, was introduced to Mark Rothko's work by a friend. Aftering attended one of Rothko’s solo exhibitions, my friend described the experience as "so powerful that it moved her to tears". Though I have not had the opportunity to see Rothko’s paintings in person, even viewing them through a screen allows me to grasp a fraction of their emotional depth. His work has, on multiple occasions, made me instinctively take deep breaths—an unconscious response I have when feel a deep emotional connection with an artwork.
One of Rothko's most renowned works―Rothko Chapel(Figure 2&3) is a great example of art’s capacity to facilitate healing and spiritual refection. The Chapel serves as a space of contemplation, embodying Rothko’s lifelong search for a universal myth, shared human experience beyond cultural and religious divides. His paintings’ dark purplish tones create an immersive atmosphere, drawing viewers into a meditative state that transcends verbal communication, enabling deep emotional engagement.
NON-VERBAL EXPRESSION AND SYMBOLIC REPRESENTATION
Rothko believed that art should eliminate obstacles between the idea and the observer. In the Chapel, his radical abstraction rejects conventional religious iconography in favour of pure form and colour. The paintings’ surfaces, simultaneously absorbing and radiating light, act as portals into the unknown, allowing viewers to project their inner states onto them. This silent dialogue fosters introspection, enabling individuals to confront existential questions, much like the Buddhist parable of Mahākāśyapa’s silent enlightenment―truth revealed beyond words.
Rothko’s abstraction is not devoid of subject matter; rather, it engages with the “human drama”―the interplay of mortality and eternity. His rejection of gestural abstraction distances his work from self-expression, reinforcing its universal reach. The subtle irregularities in his brushwork create an organic rhythm, akin to natural wood grain―order within disorder, evoking the vastness of the cosmos within the layers of pigment.
THE SUBLIME AND THE VIEWER’S EXPERIENCE
Rothko’s work aligns with the Romantic Sublime, evoking both awe and vulnerability. Like Caspar David Friedrich’s lone monk gazing at the sea (Figure 4), Rothko’s Chapel paintings place the viewer in direct confrontation with the infnite. Yet, unlike Friedrich’s fgures, Rothko removes all literal representation, making the viewer themselves the contemplative subject(Figure 1). The rectangular forms within some paintings resemble windows―frames through which one glimpses the beyond, just as a child peering at the stars in the night sky. This framing roots the experience in the secular, positioning the observer simultaneously within and beyond the everyday world.
SPIRITUAL UNIVERSALITY AND HEALING
Designed as an interfaith sanctuary, the Chapel embodies Rothko’s aspiration for universal spiritual engagement. By stripping away religious specifcity, he creates a space where viewers of all backgrounds can fnd solace. His paintings become vessels for individual contemplation, much like the Romantic poets’ visions of eternity in a single moment. Rothko’s abstraction shifts the sublime from depicted landscapes to the artwork itself― allowing the viewer’s perception to complete the experience.
CONCLUSION
Rothko Chapel’s immersive environment fosters relational change by providing a space where individuals confront their inner worlds. Through non-verbal expression, symbolic representation, and the sublime, Rothko creates an encounter with the unknown, ofering healing through contemplation. His paintings do not dictate meaning but invite a deeply personal dialogue, making the Chapel a timeless testament to art’s transformative power.
1 Rothko, Mark. 2004. The Artist’s Reality: Philosophies of Art. New Haven and London: Yale University Press.
2&3 López-Remiro, Miguel, ed. 2005. Mark Rothko: Writings on Art. New Haven and London: Yale University Press.
4 Rothko, Mark.. 2005. Address to Pratt Institute, 1958.” In Mark Rothko: Writings on Art, edited by Miguel López-Remiro, 125–128. New Haven and London: Yale University Press.
5 Rosenblum, Robert. 1969. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. New York: Harper & Row.
6 Blake, William. 1863. Poems. Edited by Dante Gabriel Rossetti. London: Bell and Daldy.
Refections
- The Use of Image-Making to Facilitate Relational Change - Refections on Aesthetics and How Aesthetics Are Shaped by Cultural, Ethnic, and Indigenous Contexts
Image-making in art therapy serves as a mechanism for facilitating relational change by enabling individuals to express complex emotions, refect on their inner world, and enhance interpersonal connections. Art therapy operates through non-verbal communication, symbolic representation, and refective function, which foster emotional processing and self-awareness.
NON-VERBAL EXPRESSION
One of the primary ways image-making facilitates relational change is through non-verbal expression. Many individuals fnd it difcult to articulate emotions due to cognitive or emotional barriers. The creative process allows for the externalisation of feelings, ofering a safe outlet for emotions that may be challenging to express verbally and reducing the intensity of direct interaction between therapist and client. The therapist’s attunement to the client’s creative process helps build a strong therapeutic relationship based on trust and emotional security, which strengthens the therapeutic alliance and allows for deeper exploration of relational patterns. Moreover, the artmaking process in therapy can mirror and infuence the client's external relationships. For example, a client struggling with communication issues may, through art therapy, discover new ways of expressing themselves, leading to improved interactions with others. In group therapy, engaging in collaborative or parallel creative activities creates a template for social interaction. Through the group art therapy sessions have attended, as attendees share their artwork and the stories behind them, we often fnd common ground with each others, which can foster empathy, reduce social isolation, and promote a collective sense of belonging.
SYMBOLIC REPRESENTATION
Symbolic representation is another essential mechanism in art therapy. It allows unconscious material to become conscious, enabling individuals to confront and work through hidden psychological conficts. By translating internal experiences into visual forms, clients can gain new insights into their emotional struggles, fostering self-awareness and spark relational changes. For example, in my second project MOOD JOURNAL used colour felds to depict my emotions symbolically, making it possible to process difcult emotions that I cannot easily verbalise.
REFLECTIVE FUNCTION
Additionally, the refective function of art therapy also enhances relational change. The artwork serves as a tangible record of a client’s emotional journey, ofering an opportunity for self-refection over time. This is much like what I have been doing in my second project MOOD JOURNAL By consistently recording my daily emotions, have gained a clear, visual overview of how my overall state fuctuates over time. This visual representation also serves as a valuable tool in my therapy, allowing for deeper exploration of the underlying causes behind these emotional changes. This refection process deepens understanding and encourages growth, both within the therapeutic relationship and in interactions with others.
In conclusion, image-making in art therapy is a powerful tool for relational change. It helps individuals express unconscious emotions, fosters selfrefection, and enhances interpersonal relationships by providing new avenues for communication. Through the creative process, clients can experiment with healthier relational patterns, ultimately improving their connections with themselves and others.
Cultural, ethnic, and indigenous contexts play a crucial role n defning aesthetics, afecting the creation and appreciation of artistic works.
CULTURAL INFLUENCE
To begin with, cultural infuence is an essential factor in determining what is deemed beautiful or aesthetically pleasing. For example, Western cultures during the Renaissance emphasised proportion, perspective, and human anatomy, refecting a fascination with humanism and scientifc exploration(Figure 1). In contrast, ancient Chinese aesthetics, guided by Taoist and Confucian principles, cherish the natural cosmological concept of Tianrenheyi (“天人合一”) ― the harmony between nature and humanity ― exemplifed in traditional shan-shui(“mountain-water”) painting(Figure 2). These artworks capture not only visual beauty but also the yixiang(“意 象”) ― the spiritual essence of landscapes ― conveying emotions and ideas beyond literal representation and engaging the viewer's imagination and feelings. These cultural diferences underscore how societal beliefs and philosophies directly inform aesthetic preferences.
ETHNIC PERSPECTIVES
Ethnic diversity within a nation enriches its aesthetic landscape. In China, the contrasting environments and lifestyles of southern ethnic minorities and northern Mongolian nomadic tribes have fostered distinct aesthetic sensibilities. Southern ethnic minorities, such as the Yao people, reside in mountainous regions and create art refecting their agrarian lifestyles and deep connection to local fora and fauna. Their aesthetics emphasise intricate patterns, vibrant colours, and nature-inspired motifs symbolising fertility, harmony, and community cohesion(Figure 3). Architecturally, the Yao are renowned for their stilted houses diaojiaolou (“吊脚楼”)(Figure 4). These bamboo and wood structures are designed to withstand frequent foods and landslides, serving both practical and visual purposes. In contrast, Mongolian nomadic tribes inhabit vast grasslands and have developed aesthetics mirroring their expansive environment and mobile lifestyle. The Mongolian Ger a portable, circular dwelling, facilitates mobility and withstands harsh climates (Figure 6). This design embodies simplicity, robustness, and functionality, celebrating the open landscape and the spirit of freedom intrinsic to their culture. These contrasting aesthetic preferences highlight how ethnic groups adapt artistic expressions to their environmental and cultural contexts, resulting in a rich tapestry of art that refects diverse worldviews and ways of life.
INDIGENOUS ART
In addition, Indigenous art forms ofer profound insights into the integration of aesthetics with daily life, spirituality, and the environment. The art of various indigenous communities often serves as a medium for storytelling and preserving ancestral knowledge. For instance, in Australian Indigenous art, performances and artworks are imbued with cultural signifcance(Figure 7). Art is considered synonymous with Country ― It is “a form of mediation with the ancestors, a visual means of reconnecting with Country, an afrmation of identity or a way of teaching others”. Here, art is deeply intertwined with rituals and community identity, refecting a holistic aesthetic that encompasses functionality, spirituality, and beauty.
IMPLICATIONS FOR ART PSYCHOTHERAPY
Recognising the impact of cultural contexts on aesthetics is crucial in felds like art psychotherapy. Therapists must be aware that clients' cultural backgrounds infuence their artistic expressions and interpretations. This cultural competence ensures therapeutic practices are both respectful and efective, aligning with the individual's cultural framework.
In conclusion, aesthetics are deeply rooted within cultural, ethnic, and indigenous contexts. These frameworks shape how beauty and artistic value are perceived, enhancing our understanding of art and informing therapeutic practices that utilise art for healing and personal development.
The Seven Sisters Dreaming is a widely shared Aboriginal Australian story about Seven Sisters(Pleiades constellation), being pursued across the land by man Wati Nyiru(Orion constellation). Such celestial narratives delve deeply into the laws, culture, and social structures of Aboriginal communities. By depicting these themes, artists not only preserve these stories but also reinforce their meanings within their communities.
1&4 Withrow, Rebecca L. “The Use of Color in Art Therapy.” The Journal of Humanistic Counseling Education and Development no. 43(2004).
2&3 Kramer, Edith. Art as Therapy with Children. New York: Schocken Books, 1971. 5 Neale, Margo, and Lynne Kelly. Songlines: The Power and Promise. Melbourne: Thames & Hudson Australia, 2020.
Figure 1. Vitruvian Man Leonardo da Vinci Figure 2. An example of Chinese ancient aesthetics: This is shan-shui painting done by me. blurred boundaries between land and cloud, water and sky, creating ambiguity that refects the Daoist principle of unity between humanity and nature.
Figure 3&4. The tradition costumes and the vernacular architecture of Yao
Figure 5&6. The tradition costumes and the vernacular architecture of Mongolian nomadic tribes
