준비되지 않은 상태에서 직면한 비일상적 사건으로 트라우마가 발생하게 되면, 그 체험에 대해서 무의식 속에 억압하게 된다. 그러나 외상사건을 연상시키는 계기가 있으면 오랜 시간이 지난 후에도 과거의 고통스러운 기억이 개인을 지배하게 된다. 외상에 고착되는 이러한 현상은 예술가들이 특정한 주제나 소재를 강박적으로 반복하는 이유이기도 하다. 아울러 외상체험을 반복강박을 통해 재연하고 감정을 소산시키는 행위가 자기회복 본능의 표현이라는 점에서 외상에 ...
준비되지 않은 상태에서 직면한 비일상적 사건으로 트라우마가 발생하게 되면, 그 체험에 대해서 무의식 속에 억압하게 된다. 그러나 외상사건을 연상시키는 계기가 있으면 오랜 시간이 지난 후에도 과거의 고통스러운 기억이 개인을 지배하게 된다. 외상에 고착되는 이러한 현상은 예술가들이 특정한 주제나 소재를 강박적으로 반복하는 이유이기도 하다. 아울러 외상체험을 반복강박을 통해 재연하고 감정을 소산시키는 행위가 자기회복 본능의 표현이라는 점에서 외상에 고착된 예술가들의 창조행위가 트라우마의 치유를 위한 시도이자 과정이다. 또한 완전히 이해하고 받아들이기 전에는 망각되지도 않고 반복되는 트라우마의 속성은 예술창작에 있어서 왜 예술가들이 과거의 기억에 천착하는가를 설명할 수 있는 근거가 된다. 그리고 강박적으로 반복되는 내용적 형식적 특성에 대한 분석을 통해 작품의 의미를 유추할 수 있다. 그들의 예술은 억압된 트라우마의 증상이면서 궁극적으로는 회복하고 치유하려는 본능의 표현이기 때문이다. 부르주아의 외상은 가족에 의한 것이었으며 가족의 재해석과 재창조는 부르주아에게 있어 외상을 치유한 힘이었다. 자신의 예술이 정신적 외상을 나타내고 반복적인 창작활동은 심리적 상처의 고통을 완화시키고 승화시키는 원동력이었다. 부르주아는 창작과정에서 자신의 정신적 외상경험이 자연스럽게 반영되었다. 유년기에 겪었던 아버지의 외도, 어머니의 묵인, 그리고 성에 대해 문란하고 방임적이었던 가정환경으로 인한 정신적 외상을 창작활동을 통해 표출함으로써 내면의 객관화에 의한 통찰을 시도하였다. 고통스러웠던 기억들을 작품으로 형상화하며 내적 감정을 투사하고 승화시킴으로서 트라우마와 대면하고, 미해결된 감정들을 작품으로 재해석하며 유년기의 트라우마를 재구성할 수 있도록 힘을 배양했고, 실제로 창작과정에서 재창조를 통한 통합에 도달하면서, 점차 자기치유적 경험으로 변화되어가는 과정을 보여주었다. 특히 트라우마의 치유과정에서 감정의 객관화가 중요한 역할을 하고 있으며, 이러한 감정의 표현과 발산이라는 미술창작의 특성은 부르주아의 외상을 치유하는데 큰 비중을 차지하였다. 따라서 부르주아는 트라우마가 주는 영향을 창작행위—미술을 통한 내적 치유—를 통해 극복할 수 있었음을 증명하였다. 역설적이게도 트라우마의 치유는 그 트라우마의 고통스러운 대면과 반복 속에 답이 있었다.
준비되지 않은 상태에서 직면한 비일상적 사건으로 트라우마가 발생하게 되면, 그 체험에 대해서 무의식 속에 억압하게 된다. 그러나 외상사건을 연상시키는 계기가 있으면 오랜 시간이 지난 후에도 과거의 고통스러운 기억이 개인을 지배하게 된다. 외상에 고착되는 이러한 현상은 예술가들이 특정한 주제나 소재를 강박적으로 반복하는 이유이기도 하다. 아울러 외상체험을 반복강박을 통해 재연하고 감정을 소산시키는 행위가 자기회복 본능의 표현이라는 점에서 외상에 고착된 예술가들의 창조행위가 트라우마의 치유를 위한 시도이자 과정이다. 또한 완전히 이해하고 받아들이기 전에는 망각되지도 않고 반복되는 트라우마의 속성은 예술창작에 있어서 왜 예술가들이 과거의 기억에 천착하는가를 설명할 수 있는 근거가 된다. 그리고 강박적으로 반복되는 내용적 형식적 특성에 대한 분석을 통해 작품의 의미를 유추할 수 있다. 그들의 예술은 억압된 트라우마의 증상이면서 궁극적으로는 회복하고 치유하려는 본능의 표현이기 때문이다. 부르주아의 외상은 가족에 의한 것이었으며 가족의 재해석과 재창조는 부르주아에게 있어 외상을 치유한 힘이었다. 자신의 예술이 정신적 외상을 나타내고 반복적인 창작활동은 심리적 상처의 고통을 완화시키고 승화시키는 원동력이었다. 부르주아는 창작과정에서 자신의 정신적 외상경험이 자연스럽게 반영되었다. 유년기에 겪었던 아버지의 외도, 어머니의 묵인, 그리고 성에 대해 문란하고 방임적이었던 가정환경으로 인한 정신적 외상을 창작활동을 통해 표출함으로써 내면의 객관화에 의한 통찰을 시도하였다. 고통스러웠던 기억들을 작품으로 형상화하며 내적 감정을 투사하고 승화시킴으로서 트라우마와 대면하고, 미해결된 감정들을 작품으로 재해석하며 유년기의 트라우마를 재구성할 수 있도록 힘을 배양했고, 실제로 창작과정에서 재창조를 통한 통합에 도달하면서, 점차 자기치유적 경험으로 변화되어가는 과정을 보여주었다. 특히 트라우마의 치유과정에서 감정의 객관화가 중요한 역할을 하고 있으며, 이러한 감정의 표현과 발산이라는 미술창작의 특성은 부르주아의 외상을 치유하는데 큰 비중을 차지하였다. 따라서 부르주아는 트라우마가 주는 영향을 창작행위—미술을 통한 내적 치유—를 통해 극복할 수 있었음을 증명하였다. 역설적이게도 트라우마의 치유는 그 트라우마의 고통스러운 대면과 반복 속에 답이 있었다.
Edith Kramer, who claims ‘art as a therapy’, focuses on the sublimation that occurs in the course of repetitive creative activities in the therapeutic effect of art acts. In the healing process of art, ‘repetition’ repeatedly regenerates memories that contribute to trauma and shows self-healing char...
Edith Kramer, who claims ‘art as a therapy’, focuses on the sublimation that occurs in the course of repetitive creative activities in the therapeutic effect of art acts. In the healing process of art, ‘repetition’ repeatedly regenerates memories that contribute to trauma and shows self-healing characteristics. Freud's ‘repetition compulsion’ is a return of the repressed, referring to the compulsive repetition of trauma in the unconscious mind. Also, by repeating the painful experience, you become the subject of the experience and control the trauma symbolically. Freud especially noted art, explaining the process of turning an individual's desires into social value, driven by death instinct. When trauma occurs due to an unusual event that is faced in an unprepared state, the experience is repressed unconsciously. However, having an occasion to recall traumatic events will allow painful memories of the past to dominate the individual after a long time. The memory of trauma is continually recreated through ordinary moments or the form of dreams. This clinging to trauma opens up the possibility that artists can understand the phenomenon of obsessively repeating certain subjects or materials. In addition, the act of repeating traumatic experiences through repetition compulsion and dispersing emotions is an expression of self-recovering instinct. In this regard, we can see that the creation of traumatic artists is an attempt and process to heal the trauma. Symptoms of trauma presented by Judith Herman, excessive awakening, intrusion of trauma that govern consciousness and unconsciousness, and constriction are revealed in direct and indirect form in the work of artists that repeat a particular subject. Herman did not directly analyze the creation of art works and their relationship to trauma. However, he emphasized the importance of writing through the process of memory and mourning and considered visual imagery to be valid when languageization is difficult. In this respect, her argument can be combined with art as an expression. Herman's Trauma Theory, which presents a healing process with symptoms of trauma, can be applied to interpreting works by artists who are stuck in childhood psychological trauma and repeatedly deal with the subject. Also, the nature of the trauma, which is not forgotten until fully understood and accepted, provides a basis for explaining why artists fit into past memories in the creation of art. Their art is an expression of their instinct to ultimately recover and heal, as it is a symptom of repressed trauma. An analysis of the content and formality of an obsessively repeated piece can infer the meaning of the work. Ironically, there is an answer to the trauma's painful face-to-face and repetition. The self-healing, repetitive art-creation forms of Louise Bourgeois can be described in three major parts—sculpture, sewing work, drawing work. In the sculpture, installation techniques using cold, hard objects gave off repressed emotions and re-aware past memories. The subsequent sewing process connected his broken heart with a piece of cloth and connected it to her broken parents. In other words, it is the work of forgiveness and healing, recovery. Through her sewing, she found a way to accept emotions that she had not been psychologically accepted, to find stability and order, and to handle herself. Finally, drawing is the most basic step in shaping the artist's thoughts and logic. Drawing through sensibility is a natural expression of the artist's life and nature, and it serves as a medium for communication between the inner self and the external self. It is now a gesture of recognition and acceptance of oneself and reality, not as a tool for shaping something, but rather to reveal and reintegrate your feelings to prepare for the end. Through drawing, Bourgeois expresses his reconciliatory feelings toward his father, healing past wounds and forgiving the world. The trauma of the Bourgeois was caused by the family, and the reinterpretation and recreation of the family was a healing force for the bourgeois. “Art is a guarantee of spiritual integrity. Art is either an experience of trauma or a reexamination”, Bourgeois's words mean that her art represents mental trauma and repetitive creative activities have been the driving force behind relieving and sublimating the pain of psychological wounds. In her lifetime of creation, Bourgeois did not follow a single flow of art or the trend of the times, but only based on her own experiences and memories. This creative process naturally reflected his traumatic experiences. She attempted insight into internal objectification by expressing mental trauma through creative activities due to her father's infidelity, her mother's acquiescence, and the domestic environment that was promiscuous and negligent about sex. The process of transforming painful memories into works, projecting and sublimating internal emotions, building power to reinterpret unresolved emotions into works, reconstructing childhood trauma, and actually recreation in the creative process and integrating them through recreation, showed the process of gradually turning into a self-healing experience. In particular, the objectification of emotions plays an important role in the healing process of trauma, and this expression of emotions and the characteristics of art creation, called diffusion, played a major role in healing the trauma of Bourgeois. Thus, Bourgeois demonstrated that the effects of trauma were overcome through creative act—internal healing through art. This is no different from the healing stages of trauma that Herman claims to be.
Edith Kramer, who claims ‘art as a therapy’, focuses on the sublimation that occurs in the course of repetitive creative activities in the therapeutic effect of art acts. In the healing process of art, ‘repetition’ repeatedly regenerates memories that contribute to trauma and shows self-healing characteristics. Freud's ‘repetition compulsion’ is a return of the repressed, referring to the compulsive repetition of trauma in the unconscious mind. Also, by repeating the painful experience, you become the subject of the experience and control the trauma symbolically. Freud especially noted art, explaining the process of turning an individual's desires into social value, driven by death instinct. When trauma occurs due to an unusual event that is faced in an unprepared state, the experience is repressed unconsciously. However, having an occasion to recall traumatic events will allow painful memories of the past to dominate the individual after a long time. The memory of trauma is continually recreated through ordinary moments or the form of dreams. This clinging to trauma opens up the possibility that artists can understand the phenomenon of obsessively repeating certain subjects or materials. In addition, the act of repeating traumatic experiences through repetition compulsion and dispersing emotions is an expression of self-recovering instinct. In this regard, we can see that the creation of traumatic artists is an attempt and process to heal the trauma. Symptoms of trauma presented by Judith Herman, excessive awakening, intrusion of trauma that govern consciousness and unconsciousness, and constriction are revealed in direct and indirect form in the work of artists that repeat a particular subject. Herman did not directly analyze the creation of art works and their relationship to trauma. However, he emphasized the importance of writing through the process of memory and mourning and considered visual imagery to be valid when languageization is difficult. In this respect, her argument can be combined with art as an expression. Herman's Trauma Theory, which presents a healing process with symptoms of trauma, can be applied to interpreting works by artists who are stuck in childhood psychological trauma and repeatedly deal with the subject. Also, the nature of the trauma, which is not forgotten until fully understood and accepted, provides a basis for explaining why artists fit into past memories in the creation of art. Their art is an expression of their instinct to ultimately recover and heal, as it is a symptom of repressed trauma. An analysis of the content and formality of an obsessively repeated piece can infer the meaning of the work. Ironically, there is an answer to the trauma's painful face-to-face and repetition. The self-healing, repetitive art-creation forms of Louise Bourgeois can be described in three major parts—sculpture, sewing work, drawing work. In the sculpture, installation techniques using cold, hard objects gave off repressed emotions and re-aware past memories. The subsequent sewing process connected his broken heart with a piece of cloth and connected it to her broken parents. In other words, it is the work of forgiveness and healing, recovery. Through her sewing, she found a way to accept emotions that she had not been psychologically accepted, to find stability and order, and to handle herself. Finally, drawing is the most basic step in shaping the artist's thoughts and logic. Drawing through sensibility is a natural expression of the artist's life and nature, and it serves as a medium for communication between the inner self and the external self. It is now a gesture of recognition and acceptance of oneself and reality, not as a tool for shaping something, but rather to reveal and reintegrate your feelings to prepare for the end. Through drawing, Bourgeois expresses his reconciliatory feelings toward his father, healing past wounds and forgiving the world. The trauma of the Bourgeois was caused by the family, and the reinterpretation and recreation of the family was a healing force for the bourgeois. “Art is a guarantee of spiritual integrity. Art is either an experience of trauma or a reexamination”, Bourgeois's words mean that her art represents mental trauma and repetitive creative activities have been the driving force behind relieving and sublimating the pain of psychological wounds. In her lifetime of creation, Bourgeois did not follow a single flow of art or the trend of the times, but only based on her own experiences and memories. This creative process naturally reflected his traumatic experiences. She attempted insight into internal objectification by expressing mental trauma through creative activities due to her father's infidelity, her mother's acquiescence, and the domestic environment that was promiscuous and negligent about sex. The process of transforming painful memories into works, projecting and sublimating internal emotions, building power to reinterpret unresolved emotions into works, reconstructing childhood trauma, and actually recreation in the creative process and integrating them through recreation, showed the process of gradually turning into a self-healing experience. In particular, the objectification of emotions plays an important role in the healing process of trauma, and this expression of emotions and the characteristics of art creation, called diffusion, played a major role in healing the trauma of Bourgeois. Thus, Bourgeois demonstrated that the effects of trauma were overcome through creative act—internal healing through art. This is no different from the healing stages of trauma that Herman claims to be.
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