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Sensorimotor Art Therapy

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to process traumatic experiences and gain satisfaction from your actions 

I have certificates in two specific sensorimotor art therapy techniques: Clay Field and Guided Drawing (also known as bilateral drawing).

Sensorimotor art therapy shares many of the aims and theoretical foundations of Somatic Experiencing. It differs in its practical application through artistic materials and its central focus on the sensorimotor base of the nervous system (peripheral nervous system, mid-brain, cerebellum and brainstem).

It is "trauma-informed" and applies Stephen Porges' polyvagal theory and recognizes Bruce Perry's three levels of brain functioning (Regulating, Relating, Reasoning).

Practical examples:

Elaboration of counter-productive learnt beliefs in the autonomic nervous system:
Learnt belief: When I say "no" something bad will happen/the person will no longer love me.
Result: I can't say "no" and the idea of making others respect my boundaries evokes fear.
By experiencing actions performed with artistic materials, my arms and hands can begin to define tangible boundaries. Clay offers a different response from the one I've become used to receiving. My muscles experience my strength and my brain registers this sensation. The memory of danger is replaced with a memory of effectiveness. The next time I find myself needing to say “no”, there is the possibility that instead of activating a threat response (that would inhibit a "no"), I mayl instead be able to choose whatever voluntary action I desire.

Finding satisfaction in your actions:
For many different reasons the body can become a dangerous space to inhabit. This phenomenon can manifest itself in many different ways: I find that my mind often goes elsewhere, I can't sit still, I have a feeling of emptiness inside, difficulty sleeping... anxiety, depression, emotional dependence, a sense of uselessness in life, agitation, hyper-activation, lack of motivation. One aspect could also be that of never feeling satisfied. This phenomenon, which does not necessarily correspond to the life goals a person has actually achieved or not, can be explained on a sensorimotor level by the following.

The peripheral nervous system is organized into two branches: the motor one which produces action (muscle movement) and the sensory one which brings the resulting sensation to the brain (the five senses). These two systems are closely linked in a loop (cycle) whereby the five senses bring information to the brain, which responds accordingly with an action, which in turn produces a new sensation, which results in another action etc. If the body has become a dangerous place, a phenomenon can be triggered by which the brain struggles to bring the sensations reported by the sensory system to consciousness. The result is that, not receiving feedback, my actions fail to produce satisfaction. This lack of satisfaction can manifest itself at different levels in life.

With sensorimotor art therapy, you can slowly teach the brain and body to stay with the sensations and little by little come into contact with the kind of deep satisfaction from one's actions that some call the joy of living, the simple pleasure of existing and witnessing that that splash of paint was made by you!

That's the theory! My service users have reported positive results.

clay field therapy

  • conceived and developed by psychologist Heinz Deuser from the 1960s onwards, in the Black Forest, Germany;

  • made accessible to the English-speaking world by his student and heir Cornelia Elbrecht who brings her own vision, defining her therapy as sensorimotor art therapy and  integrating the somatic work of Peter Levine;

  • works on the sensorimotor feedback loop of the peripheral nervous system to access the involuntary nervous system and modify its impact on the voluntary system.

The clay field consists in a wooden box filled with approximately 12 kg of clay. Adults follow the impulses in their hands with their eyes closed, while children work with their eyes open.

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Heinz Deuser, its creator, explains the potency of this haptic approach in terms of the immediacy of touch; a hand cannot not-respond because it either stays and receives more of the stimuli or leaves and removes itself. The body is required to take a position – is the matter good or bad? Is it me or not-me?

 

In sensorimotor terms, haptics is inherently empowering as it requires agency through movement, while sight is inherently helpless, as it requires immobility and distance.

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​Below is a description written by one of my service users of their first experience with the clay field (taken from the published articlePower-from-within: Somatic art therapy with an LGBTQIA+ teenager):

 

“Our work with the clay field really helped me look inside myself and express what I found. It taught me how to stop controlling my hands and trust them. It cured my ‘artist’s block’. I realized that up until that moment I’d felt incapable. Now I find self-expression liberating and satisfying.

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“I remember my first time in front of the clay field. I had this large mass of rectangular clay in front of me and I was completely lost. I kept asking Rebecca, “What am I supposed to do?” Andshe replied, “Follow your hands. Trust their instinct.” And I thought to myself, “That’s all very well but if they don’t want to do anything, what can I do then?”

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“But it’s always the first step that’s the most difficult, and bewildered as I was, I started doing something, and then I discovered Rebecca was right. Each movement opened up another sensation and a new impulse for another movement. It’s incredible. I feel it has reconnected me with impulses I was made to control as a child. Finally someone says, “Do whatever you want!”

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“My first reaction was total panic! Then I realized I can rely on what I’d like to do: on what feels good. It’s as simple as that. Just like children do. They start touching, exploring, digging. My instinct was to start flattening the surface. All the bumps and unevenness bothered me. Once it was flattened, I stuck my finger in it, right in the centre. Like a kid would do. And from that gesture, I realized it was about creating a time and a space for me".

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My service user describes how difficult but rewarding it was to give up her control over the clay and perceive instead the neural feedback coming from her hands. This process enables her to reconnect with motor memories from childhood that she now reinstates as safe behavioral patterns. At the end of the aforementioned session, the following phrase emerged from her sense of helplessness, “I’m human.” This assertion represents permission to be fragile, a fragility that is bearable only if she can feel the support of her felt-sense in her body, continually communicating safety even when nothing seems to make sense.

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testimony

guided drawing (or bilateral drawing):

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I studied bilateral drawing at the Institute for Sensorimotor Art Therapy , as a method for processing traumatic experiences.
 

Some describe bilateral drawing as a form of meditation. It is a deep confrontation with one's creativity. As a technique, it has been studied to process traumatic and painful experiences in a non-verbal way without the need to talk about them. It works through the use of both hands at the same time, thus activating both hemispheres of the brain. It aims to help the nervous system self-regulate through the integration of emotions with bodily sensations, the rhythm of movement and perception. It also works on a cognitive level to soften negative thoughts that hinder our daily life and the ability to achieve goals.

 

It was developed by Cornelia Elbrecht through 40 years of experience and the desire to bring the sensorimotor discoveries of Peter Levine and Pat Ogden to the field of art therapy. Elbrecht founded the Institute for Sensorimotor Art Therapy in Australia.

 

Anyone who struggles with the aftermath of traumatic experiences on a daily basis knows how debilitating they can be. This technique works on a sensorimotor level, mostly in a non-verbal manner to avoid potentially re-traumatizing stories. It is an individualized process, which does not necessarily follow the weekly deadline of a psychodynamic process.

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