“The body is the shore on the ocean of being.” Sufi saying

“Trauma is not just what happens to us but what we hold inside in the absence of an empathetic witness.”

Peter A. Levine Ph.D

I felt the need to make a post about this topic in order to take the research I have done relating to sensorimotor art-making, and have it all in one place.

With the eye on creating workshops alongside the dissemination of my work, I wanted several method of making for people to choose from. Every person will be drawn to a different element. I feel it will be appropriate to offer different ‘stations’ so that people can sense what they feel drawn to or try a few different mediums through which to experience through their senses.

I have decided to use some of the methods I have been using in creating my own work. Others are new fields I am exploring (like paper-making). These methods were chosen for their unique potential to be agents for meaning-making and expressing visually where words may fail. They were also chosen because of the way they engage a sensori-motor and haptic approach to making. Engaging the senses in such a way that ‘islands of safety’ can be created as they regulate the nervous system.

Sesorimotor art-making in a therapeutic sense?:

Here are a few definitions as states by researchers and art therapists:

“Sensorimotor Art Therapy encourages the awareness of implicit body sensations in the muscles, the viscera, the heart rate, and the breath. It also encourages to explore emotions as body sensations, rather than through the story attached to them.” Cornelia Elbrecht

“Sensorimotor Art Therapy is a somatic psychotherapy, using a ‘bottom-up’ approach. This means we feel into the experience even before putting words and meaning to it. This is, in fact, the way we live life. The term “sensorimotor” highlights the role of sensory input and movement. We are not aiming to create something pretty, but to feel into how things are, and how they could be.“ Sarah Brooke

“Neurobiology has taught us that we need to “come to our senses” (Malchiodi, 2020) in developing effective components for trauma intervention. Approaches like sensorimotor psychotherapy and similar approaches keep the senses and body awareness central within the healing process with trauma survivors. Expressive arts therapy amplifies psychotherapeutic work with the senses and body awareness by introducing multilevel sensory-based experiences through gestures, sound, image-making, improvisation, musicality, play, and imagination. By using “bottom-up” methods involving kinesthetic, tactile, auditory, and other channels of communication, the concept of sensorimotor expands possibilities for deeper somatosensory expression, including body awareness of distress as well as calm, joy, aliveness, and pleasure.” Cathy Malchiodi Ph.D

The Hands:

In her book called ‘Trauma healing in the clay field’, Cornelia Elbrecht explains how through evolution, our brain and hands are narrowly linked.

• How improvisational problem solving and tool-making is the beginning of intelligence and how there is an interdependent relationship between the brain and the hands. “The brain prompts the hands to do new things or to improve the way they know. In turn, the hands inform the brain about new skills and improved possibilities of handling and defining the world.’
• Touch remains the sore sense for orientation (superior to sight).
• Touch also connects us with our most ancient memory banks. Die San tribe rock art shows many hand prints in caves. Elbrecht explains that they would have questioned the imprint made by the body, yet is outside of the body. That it awakens a space-time continuum which is one of the major shifts in evolutionary consciousness. Just as this was significant for our ancestors, still today the marks we make in something like clay or paints has an effect on our brain. (Source: Elbrecht, C. 2013. Trauma healing at the clay field)

Here follows a short summary of the therapeutic value of a few different methods of making that I use in my practice:

Felt sense:

Before I go on to discuss each medium, I’d like to describe a term called: the ‘felt sense’. Elbrecht describes this concept best in her book (trauma healing in the clay field) when she says:

“Organism describes our wholeness which derives from the sum of the individual parts, i.e. bones, chemicals, muscle organs, etc; it emerges from their dynamic , complex interrelation. Body and mind, primitive instincts, emotions, intellect, and spirituality all need to be considered together in studying the organism. The vehicle through which we experience ourselves as organism is the “felt sense.” (Levine, P, 1997. P 8, Walking the Tiger.)

The “felt sense” is a term coined by Eugene Gendlin in 1981 and forms the basis for Levine’s trauma healing work: Somatic Experiencing. Elbrecht has drawn much of her research from Levine’s findings regarding the hand as a specialised area of the felt sense. This haptic perception (perception with and through the hand as sense organ). The hand is only one area of many through which the ‘felt sense’ van be accessed.

Gendlin described the ‘felt sense’ as a mode of awareness. Here is an extract from his book

“… a felt sense will shift if you approach it in the right way. It will change even as you are making contact with it. When your felt sense of a situation changes, you change – and, so does your life. (Gendlin E. 1981, Focussing)

Pigment Processing:

Clay:

The sense of touch is called haptic perception. The science of the human sense of touch has a long tradition reaching as far back as Aristotle. Haptic perception is the process of recognising objects through touch. Peter Levine, a psychologist and trauma specialist developed a trauma healing approach called ‘Somatic Experiencing’. In his book: ‘Healing Trauma’, Levine explains that trauma often gets stored as fragmentary experiences in our bodies and not as memories that can be remembered. He claims that we don’t have to remember our trauma (as is often the case during developmental trauma) in order to heal from it. He says: “ When we are able to access our “body memories” through the felt sense, then we can begin to discharge the instinctive survival energy that we did not have a chance to use at the time of an event.” He also claims that we can learn to discharge and transform this energy in dramatic or more subtle ways. This 12 step program goes on to guide you through this healing approach (which does not replace other therapies). (P.A. Levine, 2008, Healing Trauma, Sounds True audio, Canada)

The reason why I wanted to mention Levine’s work is because it had a great influence of Cornelia Elbrecht, an artist and sensorimotor art therapist from who’s work my practice draws inspiration. Levine observed how animals recover from ‘fight, flight or freeze’ situations in the wild. He noticed that the reason they do not suffer from PTSD after a freeze response because they actually shake involuntarily the moment they realise that they are safe. This way, they are able to complete the fight and flight impulse that was interrupted through the immobility response when they were in the grip of a predator, this way restoring the equilibrium.

Elbrecht focusses her work on how the hands, in context of art making are capable of helping heal trauma through movement. In her approach, she trusts the hands more than the head, relying more on motor impulses of the hands than cognitive concepts of the mind.

In her approach, Elbrecht is more interested in the relationship of the hands with the clay than the end product. She explains that our sense of touch is much older in evolutionary and developmental terms than sense of sight for example. Our infancy is dominated by touch. Our earliest sense of identity was formed by touch. Touch will always impact the body and thus the mind.

Because working with clay is an intensely tactile experience, it can evoke the earliest body memories. We have 16000 touch receptors in every square inch of skin on our fingertips. Elbrecht goes on to explain the topography of the hands and as I am still in the process of reading her book, I can’t elaborate any further. I am however very interested in her work and this topography (similar to reflexology) due to the fact that I love drawing and painting with my hands. I find it very regulating and will soon add photographs of my work here.

The work of Levine and Elbrecht (as well as Eugene Gendlin who coined the term ‘felt sense’) has impacted my work because of how their research has effectively contributed to relief emotional suffering due to stress or trauma. Due to the fact that my own work involves sensorimotor engagement with earth pigments and botanicals, clay and wax I have experienced the outcomes they talk about first hand and hope to also express this entire experience in the end products of my making (although process will always stay primary in my work). The workshops I hope to make part of my dissemination will also draw from their research. Images will follow.

References:

Levine, P.A. 2008, Healing Trauma, Sounds True audio, Canada

Elbrecht, C. 2013. Trauma Healing at the clay field, Kingsley publishers, London.

Mindful Drawing:

Encaustic methods:

Paper-making:

In search of natural earth-friendly materials to work with in my practice, I have been considering making my own paper for a long time. When I was little, my mother use to make her own paper and I remember making my own. It was very exciting and I enjoyed adding my own colours and creating something out of a chaotic mess of pulp.

When I discovered the following work by Matott and Milner regarding paper-making as a form of art-therapy, I knew that I had found a match for my practice. I aim to summarise the points taken from this book here in the near future:

Extracts from the following book: D. L. Matott and G. M. Miller, 2024, The Art and Art Therapy of Papermaking – Material, Methods, and Applications, published by Routledge

Below are images of my own paper-making process using, pine needles, recycled paper and plastic red-tape picked up on surrounding trails during my runs.

“Exposure to a new medium, a new technique, or a new idea can lead to valuable opportunities for self-discovery and ways of thinking (Botella et al., 2013). The process and act of hand papermaking, to which the forthcoming chapters are dedicated, introduces readers to how and why this medium has the profound capacity to create change. It inspires meaningful ways to serve as a form of advocacy, art therapy, and personal introspection.”

“Our first impressions and initial views lacked the knowledge about the transformative qualities inherent in the process. For example, cutting the rag of a meaningful article of clothing or cellulose material, pulping those fibers, pulling sheets, and then making art with the new paper can inspire a fresh beginning, a renewal, and activate life-altering narratives (Senchyne, 2020).”

“Since the turn of the twenty-first century, papermakers have often used their artistic practice to empower social engagement, support community building, create collaboration, and promote awareness. Making paper by hand is an art form and an artistic process. The resulting artworks can chronicle the reconstruction and expression of personal and communal experiences, viewpoints of reflection, significant events, and encourage collaboration (Delamater, 2019). By using intentional fibers and processes loaded with history, content, and meaning, the papermaking process and accompanying artworks can become a platform for social action, community engagement, and culturally relevant issues (Barrett, 2018; Cochran & Potter, 2015).”
“In addition, art therapists are utilizing papermaking and its process as an intervention for art therapy. Influenced by its transmutation and sensory-based properties, art therapists use papermaking for promoting emotional expression, fostering self-awareness, or managing recovery, loss, and trauma (Matott & Miller, 2020). This becomes an important act of reclamation in the therapeutic frame for empowering self-definition, purpose, and coping. As a visible manifestation of resilience, reforming fibers into works of art invites opportunities for processing one’s experience and story. Papermaking also creates opportunities to engage in and inform creative, relational dialogues, a critical therapeutic element of media and material use in art therapy (Dean, 2014). Papermaking practices introduce a refreshing shift from common and conventional art therapy applications, structures, and traditional art media historically used or taught in the field (Leone, 2020; Moon, 2010).”

Polyvagal theory an Neuroception:

Two research topics that greatly influence my practice.

The first time I heard of the vagus nerve was when I came across an image of it. It caught my eye because it looked like a root system and at first that is what I thought it was only to discover that it was an anatomical illustration of the vagus nerve. On another occasion I was listening to an audiobook that mentioned the vagus nerve, explaining how it was at the center of our autonomic nervous system. This immediately got my attention. I already had an intuitive sense that soil and root systems was metaphorical for the abstract theories of the soul, the spirit and the subconscious mind. I also felt that there had to be a strong connection between the vagus nerve and my knowledge about sensory processing/integration. This is an ongoing research topic…

The Polyvagal Theory Explained

Vagus stands for wanderer. This nerve is dubbed ‘the wandering nerve’ because it innervates several places in the body including the inner ear, face, vocal cords, lungs, heart, and digestive organs.

Polyvagal Theory offers a revolutionary perspective on the evolution of our nervous system, outlining the role that the vagus nerve plays in mediating functions of the autonomic nervous system. The theory emphasizes the role of the vagus nerve in physical survival, as well as how our physiological state influences our emotional and social experiences. At this stage there are some who criticise its evolutionary base and is therefore still just a theory. I do however feel that it helps to explain our human experience in terms of danger vs safety which influences us on a daily basis.

The model offers a wealth of insights into how the nervous system responds to threats, but also highlights the usefulness of toning the vagus nerve when it comes to managing stress. If you want to better understand emotional intelligence and the dynamics of social connections, you’ll love learning more about Polyvagal Theory.

Three critical neural pathways play a role in health and wellness along with how we respond to survival threats and stressors:

01 Ventral pathway of rest and restoration
02 Sympathetic pathway of mobilizing fight or flight energy
03 Dorsal pathway of immobilizing and shutting down energy

(Info sourced from: https://thechalkboardmag.com/polyvagal-theory-explained/#)

Polyvagal Theory was introduced as an attempt to shift the science of psychophysiology from a descriptive science conducting empirical studies and describing correlations between psychological and physiological processes to an inferential science generating and testing hypotheses related to common neural pathways involving both mental and physiological processes. It was the first volley in a conceptual dialog challenging the questions and methods involved in psychophysiological research and especially in the sub-domain of cardiovascular psychophysiology.

Sourced from: Steohen W.Porges, Polyvagal Theory: A biobehavioral journey to sociality, Comprehensive Psychoneoruendocrinology, VOlume 7, 2021, ISSN 2666-4976, (available at: https://doi.org/10.1016/j.cpnec.2021.100069. Opened 24/04/2024)

The relationship between neuroception, interoception, and phenomenology:

This area of study that intertwines neurobiology with philosophical concepts of consciousness and experience.

1. Neuroception: This term, coined by Dr. Stephen Porges, refers to the subconscious system in our bodies that evaluates risk and safety in our environment, contributing to our physiological state. Neuroception is a mechanism of the autonomic nervous system that influences our responses to stress, social interactions, and perceived threats. It operates below the level of conscious awareness and plays a critical role in shaping our emotional and behavioral responses to the world around us.
2. Interoception: Interoception is the sense of the internal state of the body. It involves the perception of physical sensations arising from inside the body, such as hunger, thirst, heart rate, and breath. This sensory system allows us to feel, understand, and interpret the physiological state of our bodies. Interoception is closely linked to emotional experience and self-awareness, as physical sensations are often the foundation of emotions.
3. Phenomenology: Phenomenology is a philosophical approach that emphasizes the study of conscious experience from the first-person perspective. It involves exploring phenomena as they are perceived and experienced, without preconceptions or theories. In phenomenology, the focus is on understanding the structures of experience and consciousness.

When these concepts intersect:

• Neuroception and Phenomenology: Neuroception, though operating subconsciously, influences our phenomenological experience. The sense of safety or threat detected by neuroception shapes our emotional and perceptual experience, even if we are not consciously aware of these underlying processes. Phenomenological studies can explore how these subconscious perceptions influence conscious experience, particularly in the context of emotions, social interactions, and stress responses.
• Interoception and Phenomenology: Interoception feeds directly into our phenomenological experience. The awareness of bodily sensations is a key component of how we experience our existence and forms the basis of many emotional and psychological states. Phenomenology can provide a framework for understanding how internal bodily sensations contribute to the subjective experience of being.
• Neuroception and Interoception: Both neuroception and interoception are related to how we process and respond to internal and external stimuli. While neuroception is more about evaluating safety and threat in the environment, interoception provides a sense of the body’s internal state. The interaction between these two systems is crucial for emotional regulation, stress response, and overall well-being.

Overall, the relationship between neuroception, interoception, and phenomenology is essential for understanding the complex interplay between our physiological states, subconscious processes, and conscious experience. This understanding is particularly relevant in fields like psychology, psychiatry, neuroscience, and philosophy, where comprehending the depth of human experience is vital.