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Winship, G. and Haigh, R. (1998) The formation of objects in the group matrix: Reflections on creative therapy with clay. Group Analysis, 31 (1). pp. 71-81. ISSN 0533-3164
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The For m at ion of Obj ect s in t he Gr oup Mat r ix: Reflect ions on Cr eat ive
Ther apy Wit h Clay
Gar y Winship & Rex Haigh ( 1998) Gr oup Analysis, 31: 71- 81
I n t his ar t icle descr ibes an exper im ent al gr oup exper ience w her e five people w or ked in silence for 20 m inut es ar ound a 2 it square slat e using clay as a m edium for com m unicat ion as par t of a cr eat ive t herapy session on an inpat ient psychiat r ic w ar d. The int er act ion culm inat ed in a gr oup sculpt . I t is suggest ed t hat t he pr ocess of t he sculpt ing m ay t hr ow som e light on t he for m at ion of obj ect s in t he unconscious gr oup m at r ix. The ar t icle is int ended as a cont r ibut ion t ow ar ds t he debat e about t he pot ent ial sym biosis bet w een gr oup analysis and t he cr eat ive t her apies ( Waller ) as w ell as t he basis for fur t her invest igat ion int o Rey's quest ion about t he for m at ion of gr oup m at r ix.
Key w or ds: cr eat iv e t her apies, gr oup m at r ix, gr oup sculpt
I n t r od u ct ion
At t he beginning of a gr oup, m em ber s oft en sit silent ly looking at t he floor , occasionally r epor t ing t hat t heir m inds are blank. I n a r ecent gr oup, follow ing a silent beginning, one m em ber said t hat he found him self m aking shapes out of t he pat t er ns in t he car pet . The gr oup m at r ix consist s of unspoken or unconscious m at er ial as w ell as t he com m unicat ion t hat is ar t iculat ed t hr ough w or ds: 'Wor ds ar e t he chief vehicle of com m unicat ion of ar t iculat e ( secondar y t hought ) , but it is t he pr ocess of com m unicat ion it self w hich specially int er est s us, not t he fact ual t r ansm ission of infor m at ion t hr ough w or ds' ( Foulkes and Ant hony, 1965: 259) . Might w e t ake fr om t his t hat a subst ant ial m at r ix m ay for m in t he silence of non-ver bal com m unicat ion as t he space becom es a cr ucible for m et aphor and sym bols? I n t hinking fur t her about t his non ver bal shaping of exper ience, w e m ay also w onder w hat
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for m less, em bedded in an int angible, float ing vagueneess' ( Aber cr om bie, 1969: 146) . How ever , for Aber cr om bie, Monet 's im pressionist ser ies of paint ings of lilies in his pond ( on show at The Nat ional Galler y in London) depict ed som et hing of t he int er change bet w een ( i) sur face/ conscious ( t he lilies and t he w at er ) , ( ii) sur face/ r eflect ion ( t he sky and t he clouds as t hey appear ed on t he sur face of t he pond) and ( iii) below t he sur face ( unconscious) . I n r esponse t o Aber cr om bie's t heor y, Dr Foulkes said t hat w hilst
she had ident ified som et hing im por t ant about t he exper ience in t he gr oup he felt t hat t her e w as som et hing lim it ing about t he st at ic im age pr esent ed in ar t for m s. He said: 'I am par t icular ly int er est ed in t heor et ical issues and see t hese dynam ically. I do not see t hem pict or ially, but I see t hem dy nam ically and m ov ing. I w ould need m ov ing m odels t o const r uct t o m ake t his clear ' ( in Aber cr om bie, 1969: 149- 50) .
The quest ion t hat Foulkes r aises about view ing a st at ic im age is an im por t ant point her e. I n suppor t of Aber cr om bie one m ight say t hat view ing an im age does involve a m ov ing dy nam ic, sim ply in t he eye of t he view er . I n ar t appr eciat ion people t alk about t he paint ing as 'flow ing' or 'perspect ive shift ing' depending w her e t he view er feels t hey ar e looking fr om . I n t his w ay t he dynam ic int er change bet w een ar t for m and v iew er could be said t o have a m oving dynam ic for ce. Ar t ist ic r epr esent at ion as psychic sym bol-
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- izat ion has been discussed by som e psychoanalyt ic t heor et icians ( Rose, 1980; Kr auss, 1994) . The r ecent advent of t hr ee- dim ensional ( 3- D) ar t seem s par t icular ly apposit e w hen it com es t o t hinking about how an unseen m at r ix or obj ect m ight em er ge in a pict ur e. Wit h 3- D pict ur es, at fir st one can only see a sur face pat t er n of colour s, no shape is appar ent and t he pict ure appear s t o be t wo- dim ensional. Wit h pr act ice and per sever ance one can develop an abilit y t o r elax and look alm ost beyond t he sur face of t he pict ur e, w here a 3- D im age appear s. The im age em er ges upw ar ds, appar ent ly fr om not hing. This exper ience is quit e uncanny , par t icular ly because one does not alw ays know w hat im age w ill em er ge. I t is also t he case t hat t he har der one t r ies t o see beyond t he sur face of t he 2- D pat t er n t he less likely you ar e t o see t he 3- D im age. This is how it is w it h t he unconscious - it is m or e com m on t hat in our m ost r elaxed st at e of sleep w e ar e able t o see t he unconscious depict ed.
But if w e t hink of t he unconscious as only being aw akened by sleep t hen t he unconscious m ent al act ivit y involved in day- dr eam ing, for inst ance, is under est im at ed. I n a gr oup, t he conscious int er act ion, a sequelae of sym bols and im ages, for m s a basis for t he gr oup m at rix, but t his conscious act ivit y is nonet heless under pinned by unconscious m ent al act ivit y ( Kut t er , 1982) . So, w hat of t he m ent al act ivit y t hat plum bs t he deeper layer s of gr oup pr ocess, per haps a collect ive past unconscious ( Sandler and Sandler , 1994) ? How m ight w e under st and t he r ole of obj ect for m at ion in t hese layer s of t he unconscious gr oup m at r ix?
bet w een t he silent t ension at t he beginning of a t her apy session and t he t ension of w ait ing for t he dr am a of a play t o unfold in a t heat r e, suggest ing t hat t he silent t ension m ay be conducive in cr eat ing t he r ight m ilieu for t her apy t o t ake place. The m ut ual floor space in gr oup t her apy becom es a st age for a dr am at ic encount er w her e t he int er per sonal space becom es a focal point for t r ansfer ent ial ! 1nd obj ect -r elat ional int e-r change ( Balint , 1950) .
Ther apy using cr eat ive m edium s m ight be conceivably seen as a par adigm of adult int er act ive play t her apy. Oft en t he exper ience t akes place in silence, som et im es offer ing an unexpect ed cat har sis
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or r out e t o t he pat ient s' unconscious. Segal ( 1991) sees t hat ar t offer s a r oad t o unconscious r epr esent at ion: 'cert ain phenom ena and act ivit ies aim m or e dir ect ly at t he expr ession, elabor at ion, and sym bolizat ion of unconscious phant asies. Not only night dr eam s, but also day dream s, play , and ar t , fall under t his heading' ( p. 101) . Ar t offer s a r eflect ive br idge bet w een t he conscious and t he unconscious. I n t his cont ext ar t appear s t o have a w aking dream - like qualit y, and, w hen adequat ely em br aced by an under st anding t her apist , it has t he pot ent ial t o help pat ient s deal w it h difficult and baffling em ot ions m uch in t he sam e w ay as Bet t elheim ( 1976) believed t hat fair y t ales had t he pot ent ial t o help people deal w it h unconscious anxiet y r egar ding deat h, separ at ion and t he balance bet w een good and evil.
I f it is t he case t hat individual ar t ist ic expr ession offer s a pat hw ay t o t he unconscious, t hen does a gr oup ar t exper ience offer a pat hw ay t o t he gr oup's unconscious? Gr oup ar t t herapy is st ill at an exper im ent al st age of invest igat ion. The discour se bet w een gr oup analysis and ar t t her apy, how ever , has r eached an im por t ant st age r ecent ly w it h Waller 's ( 1993) book about gr oup int er act ive ar t , w hich has been r efer r ed t o as 't he fir st art t her apy book t o addr ess using concr et e im ager y in psychodynam ic gr oups' ( Mcneilly, 1995: 242) . We w ould like t o pr esent an exper im ent al session w her e a group engaged in a cr eat ive act ivit y w her e aspect s of t he for m at ion of obj ect s ( Rey, 1994) in t he gr oup m at r ix m ight be consider ed.
Gr ou p Se ssion w it h Cla y
A slat e, 2 ft squar e, w as placed on a sm all t able, about w aist high, and five chair s w er e placed ar ound t he t able. Par t icipant s w er e pat ient s C, M and D and co-t her apisco-t s J and G. Each par co-t icipanco-t began w ico-t h appr oxim aco-t ely a double handful of clay. The gr oup w or ked in silence for 20 m inut es. The only r em it at t he com m ence-m ent of t he gr oup w as t hat of pr oducing a gr oup sculpt . The at ence-m ospher e w as t ense at fir st and t he fir st 2 m inut es feat ur ed only t he occasional pr odding or fiddling w it h individual lum ps of clay. Par t icipant s looked r at her anxiously at t he em pt y slat e base. Aft er about 3 m inut es G flat t ened out a sm all oval shaped base shape w hich w as placed t o t he r ight of cent r e of t he slat e. C put a cube shape on t op. Anot her base, lar ger t his t im e, r esem bling a r ecept acle or bow l, w as placed near t he cent r e by D. Fur t her bases becam e t he r ecipient s of a ser ies of obj ect s t hat all had quit e dist inct ive pr im ar y ~
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Gr ou p scu lpt
shapes such as cubes, cones, spher es. M m ade a sm all t r iangle, ot her s added som e r olled sausage shapes. Aft er about 7 m inut es D m oulded a lar ge, bland, headlik e shape w it h indent at ions t o r epr esent m out h, eyes and ear s and placed it r esolut ely on t he r em aining space on t he slat e base. A flur r y of act ivit y follow ed. The shapes becam e m or e int ricat e. Soon t her e w er e t w o lit t le cr eat ur es w it h t or so and legs, t hen som e flow er s. The r et icence about placing obj ect s on ot her obj ect s seem ed t o lessen as t he gr oup began busily t o add and m ould on each ot her s' obj ect s. Aft er 12 m inut es or so, for t he fir st t im e, t her e w er e a ser ies of sequences w hen t her e w er e sever al hands on t he sculpt at t he sam e t im e. The obj ect s cont inued t o be m or e definit e in shape, and becam e m or e r ecognizable: snakes, flow er s, a snail, int r icat e spr out ings. C put a baby or a sm all hum an figur e in anot her r ecept acle. Then m or e fauna appear ed. Aft er 15 m inut es a few inanim at e obj ect s once again began t o r eappear . A pipe w as at t ached t o t he head by M. D t r ailed a line fr om t he t op of t he head t o t he out skir t s of t he sculpt . Light bulb- like decor at ions w er e
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at t ached t o t he line. C added a cr oss t o a spher e. D m ade a slab w it h an equat ion of figur es, a sum t hat did not add up. M placed a golf t ee on t he slat e. G m ade a slab w it h t he dat e. J said t he t im e w as alm ost up. G put a hat on t op of t he head and C added a feat her - like ext ension ( see Figur e 1) . I n t he discussion t hat follow ed ever yone agr eed t hat t hey w er e sur pr ised at t he act iv it y follow ing t he init ial r et icence at t he beginning. Som e com par isons w er e m ade w it h t he shar ing of t he space in t he sculpt exper ience and t he shar ing of t he space in t he t hr ee t im es a w eek sm all psychot her apy gr oup sessions on t he ," unit . D said how difficult he had found it w at ching ot her s at t ach t hings t o t he obj ect s he had placed on t he sculpt . Ther e w as m uch discussion about t he link ing and placing of obj ect s in and on t op of ot her obj ect s. As t he session m oved t o a close, C said she w onder ed if t he piece needed a nam e. D said it looked like a gar den. C said, 'The Garden of Eden?' I t was felt t hat t he Gar den of Eden w as t oo ideal and t he sculpt looked m uch m or e chaot ic. 'Bedlam and Mayhem ' w as suggest ed ( w it h r efer ence t o a visit t o t he Bet hlem Royal Hospit al ar chives t he pr evious w eek, w her e t he gr oup had looked at paint ings by Richar d Dadd and Louis Wain am ong ot her s) .! M said he t hought it should be called 'The St r uggle for Change' because t his w as w hat t r eat m ent at t he unit had m eant for him . The suggest ions w er e m oulded t oget her t o for m t he final t it le for t he sculpt : 'The St r uggle for Change in t he Gar den of Mayhem '.
Th e Gr ou p M a t r ix in Cla y ?
t he clay. I m bued w it h a m ult iplicit y of m eaning, t he clay cam e t o sym bolize gift s as w ell as excr et a. Munr o ( 1970)
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point ed out t hat t he play w as t her apeut ic insofar as cr eat ivit y w as encour aged w her e t he bad obj ect s could be ex pelled ( t hrow n on t o t he floor ) but t hen r et ur ned by t he t her apist s in a m or e accept able for m w hich she descr ibed as a concr et e r epr esent at ion of t he pr ocess of r e- int r oj ect ion. Working w it h clay in a group is t her efor e likely t o r esonat e w it h t he gr oup's unconscious layer of funct ioning ( Kut t er , 1982) . I n t his case t he gr oup pr ocess em er ged fr om a net w or k of non-ver bal com m unicat ion t hat m ay have r esonat ed w it h pre- non-ver bal pr ocesses. I nit ially, t he obj ect s pr oduced w er e flat , follow ed by t hose t hat w er e fam iliar in t heir shape - squar e, t r iangular and conical. These m ay have em er ged fr om a w ish for fam iliar it y in t he uncer t aint y of t he exper ience of t he silence at t he beginning. The shar ing of basic shapes becam e a secur e base for t he developm ent of m or e elabor at e shapes.
As t he group pr ogr essed, t he obj ect s becam e m or e elabor at e st ill, and t he posit ioning of t he head seem ed t o be em blem at ic of t he pr ocess of m or e sophist icat ed t hinking. The blocks t o obj ect for m at ion at t he beginning w er e super seded by cr eat ive act ivit y w hich r esult ed in incr easingly int r icat e shapes and for m s t hat appear ed t o sym bolize t he cr eat ion of life as flor a and fauna em er ged concom it ant ly.
Ther e appear ed t o be an evolut ionar y pr ocess t hat occur r ed in t he gr oup. Mt er t he init ial ( pr im ar y) shapes, t here w er e a num ber of r ecept acles gener at ed w hich gav e t he im pr ession of a ger m inat ion! w om b- like phase t hat pr eceded t he phase w her e life for m s em er ged. A baby w as placed in one of t he bow l- like shapes. The lat er phase of t he sculpt saw t he r et ur n of t he inor ganic shapes t hat had feat ur ed init ially. I n a sense t he gr oup began w it h t he inor ganic, pr oduced life and finally r et ur ned t o t he inor ganic w it h t he headst one, a plat e w it h t he dat e on it , a cr oss, a hat and a pipe. The placing of a cr oss and a headst one w it h t he dat e on it , gave t he im pr ession of deat h and m our ning as t he act ivit y m oved t ow ar ds it s close. The placing of a pipe in t he m out h appear ed near t he end of t he gr oup sculpt , possibly sym bolic of not only adult com for t but also m at ur at ion and old age.
D iscu ssion
To som e ext ent t he gr oup clay sculpt m ight be said t o depict som et hing of t he net w or k of non- ver bal com m unicat ion t hat t ook
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exper ience of shape, for m and m ass. Possibly t he ear ly exper ience of hear ing is conceived also in t er m s of a shape. A t em plat e for t his ar chit ect ur e of t he unconscious is Tust in's ( 1980, 1984) descr ipt ion of aut ist ic shapes and obj ect s der ived fr om ear ly exper iences of har dness, coldness, bounded sur faces in infancy of self and envir onm ent , but also influenced by t he w ar m r hyt hm icit y of m ot her including her skin, t ones of enunciat ions, br eat h and silence. Shapes in infancy, t hen, ar e m or phologically unfolded fr om t he ceaseless exchange of exper ience, becom ing r ecognizable as t he int er cour se bet w een subj ect ivit y and creat ivit y becom es sophist icat ed and obj ect s becom e r ecognizable. The gr oup sculpt exper ience appear ed t o offer som e insight int o t he w ay t hat shapes evolve in t he collect ive dr am a of t he m at r ix t hr ough a pr ocess of am algam at ion. At a sym bolic level, m ight it be said t hat t he sculpt w as an exem plar of how t he int er per sonal gr oup m at r ix for m s layer upon layer , each new acquisit ion of an obj ect cont r ibut ing t o t he over all m at r ix of t he gr oup? Whilst t he individual par t s m ay be discer nible, t her e is an over all m ass t hat ~ : § em er ges. Anzieu ( 1984) has suggest ed t hat t he gr oup unconscious has an osm ot ic m em br ane, w her e t her e is a flow bet w een t he unconscious and conscious m at r ix of t he gr oup. Ther e did appear t o be a sense of 'flow ' in t he gr oup sculpt as obj ect s fused w it h ot her obj ect s, w her e t he conglom er at ion of conscious and unconscious act ivit y had a m oving dynam ic for ce. How ever , r at her t han appear ing osm ot ic, as Anzieu descr ibes, t he gr oup sculpt gave a sense of an anaer obic m at r ix, unbr eat hing, const r uct ed in a r at her geogr aphical m anner , giving t he im pression of a landscape as m uch as anyt hing else.
Ther e ar e som e sim ilar it ies bet w een t he phenom enon of 3- D ar t ,
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m ent ioned ear lier , and t he gr oup sculpt exper ience. The for m / shape em er ges fr om a fiat t w o- dim ensional base, essent ially fr om not hing, r ising upw ar ds. The shape becom es m ult idim ensional, per ceived in bot h space and m at t er - is t his sim ilar t o Balint 's ( 1968) idea of philobat ic and ocnophilic obj ect r elat ions? Upon view ing, t he sculpt lent it self w ell t o a m oving dynam ic for ce as one w as able t o look t hr ough t he sculpt and m ove im aginat ively bet w een t he obj ect s ( alt hough Foulkes m ight not have been convinced about t his asser t ion! ) . I t w ould seem t hat t he obj ect for m at ion of individuals cont r ibut ed t o t he gr oup- as- a- w hole obj ect for m at ion. r he shapeless chaos of t he lat ent unconscious gr oup m at r ix becam e m anifest in t he shape of t he sculpt . The gr oup sculpt seem ed t o depict som et hing of t he pr ocess of concr et izing t hought s int o sym bols, per haps in or der t o t oler at e t he unbear able exper ience of t he t hought chaos at t he beginning of t he gr oup, a pr ocess w hich Bion ( 1962) has descr ibed, w her e t hink ing em er ges in or der t o deal w it h t hought s. I t w ould appear t hat t he obj ect s w hich w ere form ed in t he m at rix of t he group becom e par t of t he ident it y of t he gr oup sym bolized in t he nam ing of t he sculpt dur ing t he discussion. I s t his how a gr oup cult ur e is est ablished, w her e ear ly obj ect s becom e com m on r efer ence point s for t he developm ent of gr oup hist or y and ident it y, w her e sym bols becom e t he basis for ar t ist ic genr es?
Th e r a pe u t ic V a lu e
im age as a 'm eaningless pat chw or k of blot ches' ( 1960: 27) unt il a figur e em er ges. Aber cr om bie's discussion suggest s t hat chaos pr e- dat es t he possibilit y of sense a collage of blur s and shapes ill- defined follow ed by a differ ent iat ing pr ocess. This seem s apposit e in t he cont ext of Gabr ielle Rifkind's ( 1995) ar t icle in Gr oup Analysis, w hen she t alks about t he ar t ist ic pr ocess of 't oler at ing t he chaos' befor e a cr eat ed piece em er ges. She applies t his t o t he t her apeut ic pr ocess in a gr oup w her e t he t her apist pr ovides a 'fr am e' w it hin w hich t he chaos m at r ix can be cont ained. How ever , cont r ar y t o Rifkind's not ion of fr am ing, t he gr oup sculpt exper ience show ed t hat t he gr oup it self fr am ed t he m at r ix as t he par t icipant s const r uct ed fam iliar pr im ar y shapes and r ecept acles befor e cr eat ing
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m or e elabor at e figur es - it could be said t hat t he t her apist s pr ovided a base r at her t han a fr am e. Rit kind's concept of 'holding t he fr am e' ( 1995: 336) , w hich she der ives fr om t he not ion t hat t he individual ar t ist cr eat es t he boundar ies for t heir cr eat ivit y ( ar t ist ic individualism ?) , is helpful in t hinking about how feeling and anxiet y m ight be cont ained in t he t her apeut ic pr ocess. But t his idea w ould seem t o be t oo sim plified as a t em plat e for descr ibing gr oup pr ocess. I t w ould seem t o be m ore ex act ing t o conceive of a group t heor y of ar t ist ic pr oduct ion ( ar t ist ic collect ivism ?) and t hen apply t he findings t o group pr ocess. We ar e of cour se w or king fr om t he assum pt ion her e t hat t he fount of cr eat ivit y, nam ely, ear ly eye cont act , sm iling, m ak ing noises and ot her pr im ar y int er subj ect ive phenom ena - is fundam ent ally a shar ed exper ience bet w een infant and par ent t hat ar ises out of ear ly m ir r or ing ( Pines, 1985) . I t w ould cer t ainly be int er est ing t o obser ve fur t her gr oup sculpt s like t he one- off exper im ent descr ibed her e.
Not es
1. Fonner inm at es of t he Bet hlem Royal Hospit al in t he m id- 19t h cent ur y. Richar d Dadd, believed t o have been schizophr enic, w as convict ed of t he m ur der of his fat her in 1843. He paint ed finely det ailed fair y- t ale pict ur es. His paint ing 'The Fair y Feller 's Mast er St r oke', com plet ed in 1864 w hilst at Bet hlem , is now in t he
Tat e Galler y, London. Louis Wain is now gener ally r egar ded as having been a m anic- depr essive. The m aj or it y of his w or k com pr ises pict ur es of sedat e- looking cat s paint ed in br ight , vivid colour s.
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