Mind-Body Approaches in Arts Therapies
February 7-8, 2026
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Day 1, February 7, 2026
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Dr. Ruth Lanius, MD, PhD
Ruth A. Lanius, M.D., Ph.D. is a Psychiatry Professor and Harris-Woodman Chair at Western University of Canada, where she is the director of the Clinical Research Program for PTSD.
Ruth has over 25 years of clinical and research experience with trauma-related disorders. She established the Traumatic Stress Service at London Health Sciences Center, a program that
specializes in the treatment of psychological trauma.
Ruth has received numerous research and teaching awards, including the Banting Award for Military Health Research. She has published over 150 research articles and book chapters focusing on brain adaptations to psychological trauma and novel adjunct treatments for PTSD.
Ruth regularly lectures on the topic of psychological trauma both nationally and internationally.
Ruth has co-authored three books: Sensory Pathways to Healing from Trauma: Harnessing the Brain’s Capacity for Change, The Effects of Early Life Trauma on Health and Disease: The Hidden Epidemic and Healing the Traumatized Self: Consciousness, Neuroscience, Treatment.
Ruth is a passionate clinician scientist who endeavours to understand the first-person experience of traumatized individuals throughout treatment and how it relates to brain functioning.
Ruth has over 25 years of clinical and research experience with trauma-related disorders. She established the Traumatic Stress Service at London Health Sciences Center, a program that
specializes in the treatment of psychological trauma.
Ruth has received numerous research and teaching awards, including the Banting Award for Military Health Research. She has published over 150 research articles and book chapters focusing on brain adaptations to psychological trauma and novel adjunct treatments for PTSD.
Ruth regularly lectures on the topic of psychological trauma both nationally and internationally.
Ruth has co-authored three books: Sensory Pathways to Healing from Trauma: Harnessing the Brain’s Capacity for Change, The Effects of Early Life Trauma on Health and Disease: The Hidden Epidemic and Healing the Traumatized Self: Consciousness, Neuroscience, Treatment.
Ruth is a passionate clinician scientist who endeavours to understand the first-person experience of traumatized individuals throughout treatment and how it relates to brain functioning.
Focusing-Oriented Arts Therapy (FOAT®): A Mind-Body Approach
Focusing-Oriented Arts Therapy (FOAT®) is a mind-body, somatic approach developed by Dr. Laury Rappaport that integrates Eugene Gendlin’s evidence-based Focusing (1981, 1996) with the expressive arts therapies (Rappaport, 2009, 2016, 2023). It is grounded in over 40 years of clinical work with diverse populations and has been applied in expressive arts therapy, art therapy, and psychotherapy contexts.
FOAT® incorporates two primary approaches: ARTS-Focusing and FOCUSING-Arts. In ARTS-Focusing, the process begins with creative expression, where the felt sense is implicit within the artistic process. This approach is recommended for clients who are new to therapy, in early stages of trauma treatment, or have serious and persistent mental health challenges. A FOCUSING-Arts approach is appropriate for clients with greater internal resources—where it is safe to listen inside to the body’s felt sense, find a “handle” (symbol) as an image, word, phrase, gesture, or sound—and then express it through the arts.
Dr. Rappaport will present an overview of the research underlying FOAT®, its foundational principles and core methods: Theme-Directed FOAT®, Clearing a Space with Arts, FOAT® Check-In, and Working on an Issue. Clinical examples will be included, along with an experiential FOAT® exercise.
References
Gendlin, E. T. (1981). Focusing. Bantam Books.
Gendlin, E. T. (1996). Focusing-oriented psychotherapy: A manual of the experiential method. Guilford Press.
Rappaport, L. (2009). Focusing-oriented art therapy: Accessing the body’s wisdom and creative intelligence. Jessica Kingsley Publishers.
Rappaport, L. (2016). Focusing-oriented art therapy. In J. A. Rubin (Ed.), Approaches to art therapy (3rd ed.), pp. 286–307. Routledge.
Rappaport, L. (2023). Focusing-oriented expressive art therapy. In C. Malchiodi (Ed.), Handbook of expressive arts therapy. Guilford Press.
Materials needed: Art materials of your choice
Learning objectives
At the end of this presentation, participants will be able to:
1. Define Focusing-Oriented Arts Therapy (FOAT®) and explain how it integrates Gendlin’s Focusing with expressive arts therapies within a mind–body, somatic framework.
2. Differentiate ARTS-Focusing and FOCUSING-Arts, including selecting the most appropriate approach based on client readiness, trauma phase, and internal resources.
3. Identify and describe the foundational principles and core FOAT® methods: Theme-Directed FOAT®, Clearing a Space with Arts, FOAT® Check-In, and Working on an Issue.
4. Demonstrate basic FOAT® skills through an experiential exercise, including contacting a felt sense, finding a “handle”, and translating it into creative expression.
FOAT® incorporates two primary approaches: ARTS-Focusing and FOCUSING-Arts. In ARTS-Focusing, the process begins with creative expression, where the felt sense is implicit within the artistic process. This approach is recommended for clients who are new to therapy, in early stages of trauma treatment, or have serious and persistent mental health challenges. A FOCUSING-Arts approach is appropriate for clients with greater internal resources—where it is safe to listen inside to the body’s felt sense, find a “handle” (symbol) as an image, word, phrase, gesture, or sound—and then express it through the arts.
Dr. Rappaport will present an overview of the research underlying FOAT®, its foundational principles and core methods: Theme-Directed FOAT®, Clearing a Space with Arts, FOAT® Check-In, and Working on an Issue. Clinical examples will be included, along with an experiential FOAT® exercise.
References
Gendlin, E. T. (1981). Focusing. Bantam Books.
Gendlin, E. T. (1996). Focusing-oriented psychotherapy: A manual of the experiential method. Guilford Press.
Rappaport, L. (2009). Focusing-oriented art therapy: Accessing the body’s wisdom and creative intelligence. Jessica Kingsley Publishers.
Rappaport, L. (2016). Focusing-oriented art therapy. In J. A. Rubin (Ed.), Approaches to art therapy (3rd ed.), pp. 286–307. Routledge.
Rappaport, L. (2023). Focusing-oriented expressive art therapy. In C. Malchiodi (Ed.), Handbook of expressive arts therapy. Guilford Press.
Materials needed: Art materials of your choice
Learning objectives
At the end of this presentation, participants will be able to:
1. Define Focusing-Oriented Arts Therapy (FOAT®) and explain how it integrates Gendlin’s Focusing with expressive arts therapies within a mind–body, somatic framework.
2. Differentiate ARTS-Focusing and FOCUSING-Arts, including selecting the most appropriate approach based on client readiness, trauma phase, and internal resources.
3. Identify and describe the foundational principles and core FOAT® methods: Theme-Directed FOAT®, Clearing a Space with Arts, FOAT® Check-In, and Working on an Issue.
4. Demonstrate basic FOAT® skills through an experiential exercise, including contacting a felt sense, finding a “handle”, and translating it into creative expression.
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Laury
Rappaport, Ph.D., MFT, REAT, ATR-BC
Guided Drawing: Integrating Three Significant Shapes
Cornelia Elbrecht presents Guided Drawing, an embodied, arts-based approach that supports clients in reconnecting with safe, regulating rhythms—a capacity often disrupted by traumatic stress. Grounded in principles aligned with Somatic Experiencing, this session explores why rhythm and patterned movement can be essential for restoring a sense of safety, stability, and self-agency in the nervous system. Participants will be introduced to the rationale behind Guided Drawing as a trauma-informed practice, including how simple, repeated forms can help organize sensation, attention, and emotional response without requiring verbal processing.
The workshop will be highly experiential. Attendees will be guided through three foundational shapes commonly used in Guided Drawing and invited to notice their internal responses in real time—such as shifts in breath, muscle tone, affect, and felt sense. Participants will then explore independently how each shape influences their own regulation, while Cornelia offers gentle structure to support curiosity and self-observation.
Following the practice portion, Cornelia will clarify the distinct function of each shape within the method—for example, supporting calming and settling, strengthening boundaries and containment, or promoting activation and energizing. The session concludes with clinical reflections and practical considerations for integrating Guided Drawing into trauma-sensitive work across diverse populations and settings.
Materials required:
Large sheets of paper (12x18' or A3 and above)
Fluid materials as oil pastels, paint sticks, etc.
Learning objectives
At the end of this presentation, participants will be able to:
1. Explain the core rationale of Guided Drawing and how “safe rhythms” support nervous system regulation in trauma-informed practice.
2. Practice and differentiate three foundational Guided Drawing shapes, identifying their typical effects (e.g., calming/settling, boundary/containment, energizing/activation).
3. Apply basic clinical considerations for integrating Guided Drawing into sessions, including guiding self-observation, pacing, and maintaining a sense of safety for clients.
The workshop will be highly experiential. Attendees will be guided through three foundational shapes commonly used in Guided Drawing and invited to notice their internal responses in real time—such as shifts in breath, muscle tone, affect, and felt sense. Participants will then explore independently how each shape influences their own regulation, while Cornelia offers gentle structure to support curiosity and self-observation.
Following the practice portion, Cornelia will clarify the distinct function of each shape within the method—for example, supporting calming and settling, strengthening boundaries and containment, or promoting activation and energizing. The session concludes with clinical reflections and practical considerations for integrating Guided Drawing into trauma-sensitive work across diverse populations and settings.
Materials required:
Large sheets of paper (12x18' or A3 and above)
Fluid materials as oil pastels, paint sticks, etc.
Learning objectives
At the end of this presentation, participants will be able to:
1. Explain the core rationale of Guided Drawing and how “safe rhythms” support nervous system regulation in trauma-informed practice.
2. Practice and differentiate three foundational Guided Drawing shapes, identifying their typical effects (e.g., calming/settling, boundary/containment, energizing/activation).
3. Apply basic clinical considerations for integrating Guided Drawing into sessions, including guiding self-observation, pacing, and maintaining a sense of safety for clients.
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Cornelia Elbrecht, MA (Art Ed), AThR, SEP
Bilateral Movement and Artmaking: Integrating Body and Creative Expression
Bilateral artmaking engages the brain and body through coordinated movement and creative expression. When gestures cross the midline or unfold simultaneously across both sides of the body, they activate hemispheric integration, self-regulation, and embodied awareness. This presentation and workshop explore how bilateral movement, expressed in the air, on paper, or through alternative surfaces, enhances both creative flow and neurological connectivity.
Drawing on a father–daughter collaboration that bridges neuroscience and expressive arts therapy, this session introduces four categories of bilateral movement—simultaneous, continuous, overlapping, and midline crossing—and their implications for creativity and regulation. Participants will learn how these movement patterns can deepen expressive processes while supporting stress reduction and resilience.
The workshop combines theory with hands-on practice, offering participants an opportunity to experience bilateral artmaking directly. Through guided exercises, reflective dialogue, and application to therapeutic and educational settings, attendees will gain insight into the integrative power of movement and art for fostering healing, creativity, and connection.
Materials required:
Large sheets of paper or another suitable large working surface.
Fluid or semi-structured art supplies (e.g., tempera paint, markers, pastels, crayons, feathers)
Learning objectives:
After this presentation the participants will be able to:
1. Identify the four categories of bilateral movement—simultaneous, continuous, overlapping, and midline crossing—and describe their relevance to hemispheric integration and expressive arts therapy.
2. Experience bilateral artmaking through guided movement and creative exercises to explore its potential for enhancing regulation, creativity, and embodied awareness.
3. Apply principles of bilateral movement and artmaking to therapeutic, educational, and wellness settings as tools for fostering resilience, stress reduction, and integrative healing.
Drawing on a father–daughter collaboration that bridges neuroscience and expressive arts therapy, this session introduces four categories of bilateral movement—simultaneous, continuous, overlapping, and midline crossing—and their implications for creativity and regulation. Participants will learn how these movement patterns can deepen expressive processes while supporting stress reduction and resilience.
The workshop combines theory with hands-on practice, offering participants an opportunity to experience bilateral artmaking directly. Through guided exercises, reflective dialogue, and application to therapeutic and educational settings, attendees will gain insight into the integrative power of movement and art for fostering healing, creativity, and connection.
Materials required:
Large sheets of paper or another suitable large working surface.
Fluid or semi-structured art supplies (e.g., tempera paint, markers, pastels, crayons, feathers)
Learning objectives:
After this presentation the participants will be able to:
1. Identify the four categories of bilateral movement—simultaneous, continuous, overlapping, and midline crossing—and describe their relevance to hemispheric integration and expressive arts therapy.
2. Experience bilateral artmaking through guided movement and creative exercises to explore its potential for enhancing regulation, creativity, and embodied awareness.
3. Apply principles of bilateral movement and artmaking to therapeutic, educational, and wellness settings as tools for fostering resilience, stress reduction, and integrative healing.
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Elizabeth Warson, PhD, ATR-BC, LPC, NCC, EMDR III, EXAT, EAP II
"I Just Feel Happier!"
This session presents an integrated body–mind approach developed through a year-long program co-designed with a local surf school and a veterans’ community. The model weaves together mindfulness practices, outdoor ocean-based activities (including surfing), and group art therapy to support mental well-being through both embodied regulation and creative meaning-making. Participants will be introduced to the program structure, core clinical intentions, and key considerations for creating safety, accessibility, and group cohesion in an outdoor setting. The presenter will highlight observed outcomes and participant feedback, illustrating how nature-based and body-centered experiences can complement traditional arts therapy by strengthening self-regulation, connection, and resilience. Attendees will leave with practical, adaptable ideas for partnering with community organizations and integrating outdoor experiences into arts therapy frameworks in an ethical, trauma-informed way.
Learning objectives
At the end of this presentation, participants will be able to:
1. Describe the core components and structure of a combined mindfulness, ocean-activity, and group art therapy program.
2. Identify trauma-informed and accessibility considerations for delivering body-centered, outdoor interventions with veteran populations.
3. Apply at least two practical strategies for integrating nature-based or movement-based elements into arts therapy work through community partnerships.
Learning objectives
At the end of this presentation, participants will be able to:
1. Describe the core components and structure of a combined mindfulness, ocean-activity, and group art therapy program.
2. Identify trauma-informed and accessibility considerations for delivering body-centered, outdoor interventions with veteran populations.
3. Apply at least two practical strategies for integrating nature-based or movement-based elements into arts therapy work through community partnerships.
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Dr Carla van Laar, ThAP.D, M.CAT, PACFA Registered Clinical Counsellor & Supervisor
Meeting the Missing
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Clare Brewer, MA
The Art of Feeling at Home: From Trauma to Resilience and Growth
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Sarit Zeltzer, MA
Day 2, February 8, 2025
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Carolina (Carlie) Atkinson, PhD
Perinatal Dreaming: Creative Pathways for Healing Intergenerational & Perinatal Trauma Through Indigenous Mind–Body Wisdom
Perinatal Dreaming is a creative, trauma-informed framework that integrates Indigenous knowledge systems with contemporary art therapy and mind–body approaches. Grounded in Dadirri (deep listening) and Kanyini (connectedness), it explores unconscious perinatal experiences as sites of both vulnerability and transformation. Through multi-modal creative practices: music, movement, visual art, and narrative, participants reimagine maternal stories as pathways for healing, cultural reclamation, and relational repair. This approach addresses intergenerational trauma and systemic disconnection by fostering embodied creativity that honours cultural identity and maternal sovereignty.
For art therapists, Perinatal Dreaming offers a model of culturally responsive, holistic care that bridges neuroscience, attachment theory, and Indigenous relational paradigms. It demonstrates how creativity functions as both a personal and communal tool for restoring wellbeing, making it a vital contribution to mind–body practices in perinatal mental health.
Learning objectives
At the end of this presentation, participants will be able to:
1. Describe the Perinatal Dreaming framework and its foundations
2. Identify how multi-modal creative practices (music, movement, visual art, and narrative) can access and transform unconscious perinatal experiences into healing narratives.
3. Apply trauma-informed, culturally responsive principles that support maternal sovereignty, cultural identity, and relational repair
4. Integrate key clinical insights from neuroscience, attachment theory, and Indigenous relational paradigms to inform ethical, embodied art therapy interventions in perinatal mental health.
For art therapists, Perinatal Dreaming offers a model of culturally responsive, holistic care that bridges neuroscience, attachment theory, and Indigenous relational paradigms. It demonstrates how creativity functions as both a personal and communal tool for restoring wellbeing, making it a vital contribution to mind–body practices in perinatal mental health.
Learning objectives
At the end of this presentation, participants will be able to:
1. Describe the Perinatal Dreaming framework and its foundations
2. Identify how multi-modal creative practices (music, movement, visual art, and narrative) can access and transform unconscious perinatal experiences into healing narratives.
3. Apply trauma-informed, culturally responsive principles that support maternal sovereignty, cultural identity, and relational repair
4. Integrate key clinical insights from neuroscience, attachment theory, and Indigenous relational paradigms to inform ethical, embodied art therapy interventions in perinatal mental health.
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Marianne Wobcke, PhD(c), RN/RM, BaCAIA
Somatic Body Mapping: Making Visible the Embodied Experience of ‘Becoming’
This presentation and workshop will introduce participants to Somatic Body Mapping (SBM) which combines approaches from art therapy, dance movement psychotherapy and perinatal embodiment. The presentation will trace the development of the practice from its origins in an art/activist methodology to today’s somatic approach which integrates art making with touch, body meditation, movement, and improvised ritual.
A short film will show how the SBM process follows sensory and movement impulses to creatively shape a life size image of one’s body on canvas. Case examples will further illustrate how the SBM process brings into play cellular memories of our earliest experiences of becoming a body during formation in the womb and at birth. Bringing those into awareness and meeting them with creative choices allows the maker of the body map to tap into yet unrealised potential. SBM thereby supports an exploration of “Who am I becoming today?” and finding direction during life transitions.
To conclude, workshop participants will be guided through the experience of a core element of SBM: a body meditation which moves from bodily sensing through inner seeing to creative mark making and back to bodily sensing.
Work Cited:
Schwalbe, A. (2019). Somatic body mapping with women during times of transition. In H. Payne, S. Koch, J. Tania, & T. Fuchs (Eds.), The Routledge International Handbook of Embodied Perspectives in Psychotherapy, Oxon: Routledge
Materials needed: cushions & blanket, somewhere to lie down
A4 or A3 size paper & dry art materials. In addition if desired: tactile materials such as bits of fabric and/or materials gathered in nature such as stones, leaves, seeds, sticks etc.
Learning objectives
At the end of this presentation, participants will be able to:
1. Understand the connection between creatively shaping one’s body on canvas and cellular memories of prenatal life and birth, our earliest experiences of becoming a body
2. Differentiate between static depictions of identity and organic explorations of becoming in somatic body mapping
3. Experiment with the SBM core cycle of body meditation, mark making and re-embodiment
A short film will show how the SBM process follows sensory and movement impulses to creatively shape a life size image of one’s body on canvas. Case examples will further illustrate how the SBM process brings into play cellular memories of our earliest experiences of becoming a body during formation in the womb and at birth. Bringing those into awareness and meeting them with creative choices allows the maker of the body map to tap into yet unrealised potential. SBM thereby supports an exploration of “Who am I becoming today?” and finding direction during life transitions.
To conclude, workshop participants will be guided through the experience of a core element of SBM: a body meditation which moves from bodily sensing through inner seeing to creative mark making and back to bodily sensing.
Work Cited:
Schwalbe, A. (2019). Somatic body mapping with women during times of transition. In H. Payne, S. Koch, J. Tania, & T. Fuchs (Eds.), The Routledge International Handbook of Embodied Perspectives in Psychotherapy, Oxon: Routledge
Materials needed: cushions & blanket, somewhere to lie down
A4 or A3 size paper & dry art materials. In addition if desired: tactile materials such as bits of fabric and/or materials gathered in nature such as stones, leaves, seeds, sticks etc.
Learning objectives
At the end of this presentation, participants will be able to:
1. Understand the connection between creatively shaping one’s body on canvas and cellular memories of prenatal life and birth, our earliest experiences of becoming a body
2. Differentiate between static depictions of identity and organic explorations of becoming in somatic body mapping
3. Experiment with the SBM core cycle of body meditation, mark making and re-embodiment
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Annette Schwalbe, MA, MSc, RDMP, ADMP UK & UKCP accredited
Compassion for Your Critical Self Through IFS & Art Therapy
The blending of polyvagal theory and Internal Family Systems (IFS) has been shown to be an effective method to treat complex trauma. This de-pathologized approach offers a refreshing perspective of our adaptive nervous system and honors the inherent wisdom in all of us.
In IFS, the therapist works with a client to explore the parts within oneself that adopt coping strategies to mitigate harm. This framework conceptualizes different parts that are separate from the self. In all of us there are wounded parts, preventative parts and reactive or extreme parts that all co-exist in relationship to the Self. The critic emerges as a part of the self that works to protect, defend and support, or prevent the part from perceived threats or block one’s self-esteem and belonging. Taking time to engage with self and get to know one’s critic can be healing and transformative. Offering curiosity and compassion to this part of self is an important step toward unburdening and developing a relationship with self.
Therapists make a lifelong commitment to know themselves and have an ethical responsibility to explore and work through their own activated parts in response to the clients they serve. The act of creating and sharing parts of self and being witnessed is vulnerable. Offering compassion, creativity, curiosity and care allow us to cultivate understanding and creates a path to healing.
Materials needed: Colored pencils, markers, large paper, collage materials, paper, pens, (optional: air dry clay, yarn, found objects, masking tape, aluminum foil)
Learning objectives
At the end of this presentation, participants will be able to:
1. Identify 2 or more basic terms from Internal Family Systems (IFS) theory.
2. Explain the relationship between polyvagal states and activated parts in IFS.
3. Describe at least 1 arts-based method for creating a dialogue with the inner critic in therapeutic practice.
In IFS, the therapist works with a client to explore the parts within oneself that adopt coping strategies to mitigate harm. This framework conceptualizes different parts that are separate from the self. In all of us there are wounded parts, preventative parts and reactive or extreme parts that all co-exist in relationship to the Self. The critic emerges as a part of the self that works to protect, defend and support, or prevent the part from perceived threats or block one’s self-esteem and belonging. Taking time to engage with self and get to know one’s critic can be healing and transformative. Offering curiosity and compassion to this part of self is an important step toward unburdening and developing a relationship with self.
Therapists make a lifelong commitment to know themselves and have an ethical responsibility to explore and work through their own activated parts in response to the clients they serve. The act of creating and sharing parts of self and being witnessed is vulnerable. Offering compassion, creativity, curiosity and care allow us to cultivate understanding and creates a path to healing.
Materials needed: Colored pencils, markers, large paper, collage materials, paper, pens, (optional: air dry clay, yarn, found objects, masking tape, aluminum foil)
Learning objectives
At the end of this presentation, participants will be able to:
1. Identify 2 or more basic terms from Internal Family Systems (IFS) theory.
2. Explain the relationship between polyvagal states and activated parts in IFS.
3. Describe at least 1 arts-based method for creating a dialogue with the inner critic in therapeutic practice.
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Mary Andrus DAT, LCAT, LPC, ATCS, ATR-BC
Colors for Wholeness
This presentation gives insight into the client-led color-focused approach in arts therapy. Firstly, an overview of the theoretical background will be presented, and then participants will experience a prompt from the book “Colors Speak: Experience using colors for healing and wholeness.”
The methodology of the client-led color-focused approach is based on Carl Gustav Jung’s psychoanalytical theory, Carl Roger’s and Natalie Rogers’ humanistic person-centered approach, however, a broad range of additional theories and research have also been considered in developing this approach, including subjects such as: colors in art and culture; color associations, the effects of color on emotional reactions; changes in color preference over a person’s lifetime; and other studies.
The main concept of this approach encourages focusing on one or several colors and revolves around finding a path towards wholeness. The goal is to locate a way towards the self by taking care of one’s body, senses, feelings and emotions, as well as one’s intuition, mind, soul, and spirit. In a practical sense, the client-led color-focused approach encompasses all modalities of art: visual, movement, role-play, sound, music, writing, etc.
The workshop demonstrates how colors can “speak” without speaking, providing a way of expressing bodily sensations, feelings, emotions, and thoughts.
Materials needed: A3 paper, at least 5 different tones of colored paper, a glue stick, a pencil, colored pencils, oil pastels, markers or felt-tip pens.
Learning objectives:
At the end of this presentation, participants will be able to:
1. Introducing to participants the theoretical background and key points of the client-led color-focused approach in arts therapy;
2. Exploring practically a prompt experiencing a way of expressing bodily sensations, feelings, emotions, and thoughts;
3. Demonstrating how colors can “speak” without speaking.
The methodology of the client-led color-focused approach is based on Carl Gustav Jung’s psychoanalytical theory, Carl Roger’s and Natalie Rogers’ humanistic person-centered approach, however, a broad range of additional theories and research have also been considered in developing this approach, including subjects such as: colors in art and culture; color associations, the effects of color on emotional reactions; changes in color preference over a person’s lifetime; and other studies.
The main concept of this approach encourages focusing on one or several colors and revolves around finding a path towards wholeness. The goal is to locate a way towards the self by taking care of one’s body, senses, feelings and emotions, as well as one’s intuition, mind, soul, and spirit. In a practical sense, the client-led color-focused approach encompasses all modalities of art: visual, movement, role-play, sound, music, writing, etc.
The workshop demonstrates how colors can “speak” without speaking, providing a way of expressing bodily sensations, feelings, emotions, and thoughts.
Materials needed: A3 paper, at least 5 different tones of colored paper, a glue stick, a pencil, colored pencils, oil pastels, markers or felt-tip pens.
Learning objectives:
At the end of this presentation, participants will be able to:
1. Introducing to participants the theoretical background and key points of the client-led color-focused approach in arts therapy;
2. Exploring practically a prompt experiencing a way of expressing bodily sensations, feelings, emotions, and thoughts;
3. Demonstrating how colors can “speak” without speaking.
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Dace Visnola, Dr.paed., Mg.sc.sal
Stand Up and Paint: An Autoethnographic Exploration of Large-Format Painting
and Its Applications in Art Therapy
Large-format painting engages both physical movement and psychological depth, especially when done standing. This posture fosters rhythm and presence but also introduces technical and emotional challenges not as easily perceptible in smaller, seated
works. Stepping back from the canvas provides fresh insight, increasing self-awareness, vulnerability, and a sense of empowerment.
This presentation is partly inspired by Marion Milner’s (2010) influential book On not being able to paint, which guided the author during her personal return to large-format painting after several years away. Milner’s psychodynamic analysis illuminates the psychological pitfalls and rewards inherent in creative expression. Her work, while not explicitly addressing large formats, nonetheless contributes meaningfully to understanding how engagement with the creative process can facilitate personal growth. Drawing on Milner’s observations, this presentation describes the presenter’s creative experiments to demonstrate how these insights have helped unblocking and renewing her creative practice, facilitating the emergence of new knowledge.
Further, the presentation discusses applications of large-format painting in art therapy, supported by research and the work of notable art therapists and artists. Physical interaction with large canvases is shown to encourage self-expression, broaden
perspectives, and promote healing and transformation.
Learning objectives:
At the end of this presentation, participants will be able to:
1. Explain how standing, large-format painting engages movement, rhythm, and presence differently than smaller, seated work
2. Demonstrate at least two reflective strategies to increase self-awareness, support vulnerability safely, and strengthen a sense of empowerment during the creative process.
3. Summarize at least two key psychodynamic insights from Marion Milner’s On Not Being Able to Paint
4. Apply large-format painting concepts to art therapy practice by identifying clinical benefits.
works. Stepping back from the canvas provides fresh insight, increasing self-awareness, vulnerability, and a sense of empowerment.
This presentation is partly inspired by Marion Milner’s (2010) influential book On not being able to paint, which guided the author during her personal return to large-format painting after several years away. Milner’s psychodynamic analysis illuminates the psychological pitfalls and rewards inherent in creative expression. Her work, while not explicitly addressing large formats, nonetheless contributes meaningfully to understanding how engagement with the creative process can facilitate personal growth. Drawing on Milner’s observations, this presentation describes the presenter’s creative experiments to demonstrate how these insights have helped unblocking and renewing her creative practice, facilitating the emergence of new knowledge.
Further, the presentation discusses applications of large-format painting in art therapy, supported by research and the work of notable art therapists and artists. Physical interaction with large canvases is shown to encourage self-expression, broaden
perspectives, and promote healing and transformation.
Learning objectives:
At the end of this presentation, participants will be able to:
1. Explain how standing, large-format painting engages movement, rhythm, and presence differently than smaller, seated work
2. Demonstrate at least two reflective strategies to increase self-awareness, support vulnerability safely, and strengthen a sense of empowerment during the creative process.
3. Summarize at least two key psychodynamic insights from Marion Milner’s On Not Being Able to Paint
4. Apply large-format painting concepts to art therapy practice by identifying clinical benefits.
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Vera Heller, PhD, OPQ
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Ritu Dua, MA
Ritu Dua is an art therapist, artist, author and a Shinrin-yoku (Forest Bathing) guide, based in Pune, India. She is passionate about integrating Indian Indigenous and folk-arts with contemporary art therapy practices in a culturally responsive way.
Her work spans clinical, educational, corporate and community settings, with a focus on nature-based practices, mindfulness and contemplative practices. She works with people from diverse cultures, across all age groups -helping them explore, process, and express emotions that are often difficult to articulate in words, through art and creativity.
She offers individual and group art therapy sessions, both in-person and virtual, creating non-judgmental, safe and supportive spaces for mental and emotional well-being.
Her article “Indigenous Gond Art in Art Therapy: A Nature-Based Creative Process” was recently published in Art Therapy: Journal of the American Art Therapy Association.
When not facilitating or writing, she reads, makes art, engages in slow-stitching, gardening and hugging trees!
Her work spans clinical, educational, corporate and community settings, with a focus on nature-based practices, mindfulness and contemplative practices. She works with people from diverse cultures, across all age groups -helping them explore, process, and express emotions that are often difficult to articulate in words, through art and creativity.
She offers individual and group art therapy sessions, both in-person and virtual, creating non-judgmental, safe and supportive spaces for mental and emotional well-being.
Her article “Indigenous Gond Art in Art Therapy: A Nature-Based Creative Process” was recently published in Art Therapy: Journal of the American Art Therapy Association.
When not facilitating or writing, she reads, makes art, engages in slow-stitching, gardening and hugging trees!
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