Program

World 
Arts Therapies
SUPERVISION SUMMIT

Write your awesome label here.

1:00 - 1:50

Integral Parts of a Whole: El Duende One-Canvas Process Painting as an Art-Based Supervision Practice

This didactic and experiential presentation delves into the five fluid phases of el Duende process painting (EDPP) as an art-based supervision practice (warm-up, depth re-working on one canvas over time, sequential photographing, journaling and peer feedback loops, final compilation video). Attention focuses on developing self-reflexivity, risk taking, and the importance of material choices. The intentions and foci of attention for each phase is enhanced by exploring material choices through the lens of the Expressive Therapies Continuum’s framework. Three core elements of transformational learning (normative, formative, and restorative) highlight how the one-canvas model of supervision develops critical thinking while engaged in art making. We will explore how the parts of the whole EDPP method are integral as they blend didactic theory with experiential learning, respecting a cyclical process of artmaking, growth, and discovery.

Learning Objectives:
By the end of this presentation, the participants will be able to:
1. Process and product in an art-based supervision, identifying the 5 phases of EDPP (warm-up; entry into art making with re-working with photographing; pause for journaling & feedback loops; final compilation video) as they align with intentions of transformational learning (normative, formative, restorative).
2. Identify ways the Expressive Therapies Continuum (ETC) scaffolds an art-based supervision that includes assemblage materials and paints, while participating in the EDPP Cycle of Layering. 
3. Examine layering processes, feedback loops, photographing evolution, and reflective journaling (core elements of EDPP) as they enhance reflexivity, risk-taking, and reflection.
Write your awesome label here.

Dr. Abbe Miller, ATR-BC, LPC, AATCE

Nuria Marsimian has a Bachelor Degree in Music Therapy from Universidad del Salvador, Argentina. She has completed a Hospital Career in Music Therapy and Medicine at Rivadavia Hospital in Buenos Aires. She was a music therapist for the Developmental Disorders Team at the Italian Hospital of Buenos Aires for about eight years. She taught in the Music Therapy degree program at the University of Buenos Aires (UBA) for seven years. She holds a teaching qualification obtained through the Postgraduate Course in Initial Teacher Training for Health Professionals (UHIBA, 2024).
Since 2014 she has been Director of Music Therapy and Autism Spectrum Postgraduate Course at the Italian Hospital University of Buenos Aires (U.H.I.B.A.). She is a teacher and tutor of the Master of Music Therapy and Functional Diversity (Universidad Pablo de Olavide, Spain) and a visiting lecturer for the Global Music Therapy Master’s program (Panama).
She is a clinical music therapist with training in Microanalysis, PECS Program, ABA Model, Functional Behavioral Analysis, DIR Floortime Model, Denver Model and Mindfulness and the Continuing education program: Girls, adolescents, and women on the autism spectrum (UCAECE, 2023).
She is a music therapist supervisor. Her supervision methodology has gained international recognition following its publication in the music therapy journal Voices: A World Forum for Music Therapy.
She is the creator of the Musical Functional Assessment Profile (MFAP)/ Perfil Funcional Musical (PFM), a music therapy assessment tool for neurodevelopmental conditions. She received an award/grant from the Music Care International Network (MCIN, UK, 2023) for the content validity process of the PFM tool.
She has presented various papers at conferences and symposia on psychiatry, cognitive neuroscience, autism, and music therapy, both in Argentina and internationally. She has authored numerous articles published in peer-reviewed music therapy journals across Latin America and internationally, such as Voices, Approaches, Ecos and the Latin American and Caribbean Journal of Music Therapy for Early Childhood. She is currently an editor of the Music Therapy Today journal and a member of the Publications Commission of the World Federation of Music Therapy (WFMT, 2023–2026).
She is an international speaker who provides trainings professionals in Argentina, Bolivia, Uruguay, Peru, Ecuador, Puerto Rico, and Spain.

1:00 - 1:50

From Reflection to Evaluation: Developing a Supervision Methodology in Music Therapy

Supervision is a fundamental component of professional development and clinical practice in the arts therapies. However, there is still a need to develop and evaluate methodologies that make the processes involved in supervision explicit and systematic, particularly in complex clinical contexts.
In a study published (Marsimian, 2024), the author presented a supervision methodology developed through clinical practice with music therapists working with people on the autism spectrum, identifying recurring aspects of the supervision process and proposing guidelines for its organization.
The present study represents a second stage in this process and aims to explore and evaluate the methodology from the perspective of participating music therapists. It examines their perceptions of the structure and relevance of supervision, as well as its contribution to reflection on practice and professional development.
The presentation will bring both studies together to illustrate the progression from an experience and reflection based approach toward a systematized methodology that is subsequently evaluated. Methodological and ethical challenges involved in researching a supervision methodology developed by the supervisor herself will also be discussed, emphasizing the importance of reflexivity and transparency regarding the researcher-practitioner position.
Although the work originates in music therapy and the context of autism, it raises a broader question for the arts therapies: How can supervision maintain its relational and reflective nature while also becoming sufficiently structured to be systematically evaluated, communicated, and adapted to other professional contexts?

Keywords
Supervision; Arts Therapies; Music Therapy; reflective practice; professional development; autism; supervision methodology. 

Learning Objectives
At the end of this presentation, the participants will be able to:
1. Analyse the development of a supervision methodology in music therapy, from its practice and reflection based origins (Marsimian, 2024) to its systematization and evaluation.
2. Explore the findings of the methodology’s evaluation from the perspective of participating music therapists, focusing on its contribution to reflection on practice and professional development.
3. Reflect on the challenges and possibilities of systematizing and evaluating supervision methodologies in the arts therapies, while preserving their relational, contextual and reflective nature.

References 
Marsimian, N. I. A. (2024). Reflections on supervision in music therapy in the context of autism. Voices: A World Forum for Music Therapy, 24(2). https://doi.org/10.15845/voices.v24i2.3731
Write your awesome label here.

Nuria Marsimian

Nuria Marsimian has a Bachelor Degree in Music Therapy from Universidad del Salvador, Argentina. She has completed a Hospital Career in Music Therapy and Medicine at Rivadavia Hospital in Buenos Aires. She was a music therapist for the Developmental Disorders Team at the Italian Hospital of Buenos Aires for about eight years. She taught in the Music Therapy degree program at the University of Buenos Aires (UBA) for seven years. She holds a teaching qualification obtained through the Postgraduate Course in Initial Teacher Training for Health Professionals (UHIBA, 2024).
Since 2014 she has been Director of Music Therapy and Autism Spectrum Postgraduate Course at the Italian Hospital University of Buenos Aires (U.H.I.B.A.). She is a teacher and tutor of the Master of Music Therapy and Functional Diversity (Universidad Pablo de Olavide, Spain) and a visiting lecturer for the Global Music Therapy Master’s program (Panama).
She is a clinical music therapist with training in Microanalysis, PECS Program, ABA Model, Functional Behavioral Analysis, DIR Floortime Model, Denver Model and Mindfulness and the Continuing education program: Girls, adolescents, and women on the autism spectrum (UCAECE, 2023).
She is a music therapist supervisor. Her supervision methodology has gained international recognition following its publication in the music therapy journal Voices: A World Forum for Music Therapy.
She is the creator of the Musical Functional Assessment Profile (MFAP)/ Perfil Funcional Musical (PFM), a music therapy assessment tool for neurodevelopmental conditions. She received an award/grant from the Music Care International Network (MCIN, UK, 2023) for the content validity process of the PFM tool.
She has presented various papers at conferences and symposia on psychiatry, cognitive neuroscience, autism, and music therapy, both in Argentina and internationally. She has authored numerous articles published in peer-reviewed music therapy journals across Latin America and internationally, such as Voices, Approaches, Ecos and the Latin American and Caribbean Journal of Music Therapy for Early Childhood. She is currently an editor of the Music Therapy Today journal and a member of the Publications Commission of the World Federation of Music Therapy (WFMT, 2023–2026).
She is an international speaker who provides trainings professionals in Argentina, Bolivia, Uruguay, Peru, Ecuador, Puerto Rico, and Spain.
12:00 - 1:00 Lunch Break &

Poster Presentations

Poster presentations will happen in-person during lunch break and also recorded videos will be presented on the screen during the break. You will have time to meet the presenters and listen to their research and reflexive practices.
Write your awesome label here.
2:00 - 2:50

Moving, Dancing and Writing in Clinical Supervision: Employing Embodied
Practices in Clinical Supervision 

At times, clinical supervision can be a highly intellectual and verbal process, “talking through” difficult issues but leaving aside our lived experience and the bodily reactions triggered by a particular client or situation. Drawing on the conception of an embodied mind and embodied cognition, this presentation introduces new ways of self-examination in clinical supervision. These approaches integrate the body and its inherent knowledge, as well as movement and the written word, into the psychotherapy process of supervision. 
Making a rigorous distinction between knowledge derived by language and knowledge derived by the body without the intervention of conscious thought, you will learn about different models for supervision: Self-Supervision, Peer Supervision, and Group Supervision. All of these models incorporate the methodology from Panhofer’s (2011) Writing – Moving – Writing study, inviting therapists and supervisors from Dance Movement Therapy, body psychotherapies, narrative and other arts therapies, —as well as verbal therapies—to inquire into the connections between embodied experience and the embodied word. This exploration aims to investigate the intercorporeal perspective of the therapeutic relationship, deepening the clinical work and the relationships with the clients.
Please ensure you attend from a private, safe space that allows for some movement (e.g., having approximately 4 m² of room for movement near your computer).
References: Panhofer, H. (2011). Dancing, moving and writing in clinical supervision? Employing embodied practices in psychotherapy supervision. The Arts in Psychotherapy 38 (2011) 9–16. doi:10.1016/j.aip.2010.10.001

Learning Objectives:
By the end of this presentation, the participants will be able to:
1. Differentiate two forms of knowledge in supervision: knowledge mediated through language and conscious reflection, and knowledge emerging through embodied experience and bodily awareness.
2. Describe three supervision models—self-supervision, peer supervision, and group supervision—and explain how embodied practices can be integrated into each.
3. Apply the Writing–Moving–Writing method to a clinical or supervisory experience and identify at least two insights related to bodily responses, intercorporeality, or the therapeutic relationship.
Write your awesome label here.

Dr. Heidrun Panhofer, MA DMT

Dr. Heidrun Panhofer founded the master’s degree programme in Dance Movement Therapy (DMT) at the Autonomous University (UAB) of Barcelona in Spain in 2003. Since then, she has directed, taught, and supervised the programme at the Department for Clinical Psychology, which has trained over 600 students in DMT. She also lectures at the MA Programme of Arts Therapies at Paris University, at the Interkantonale Hochschule für Heilpädagogik in Zürich, and other international institutions.
Heidrun is one of the co-founders and a former president of the Spanish Association of DMT – ADMTE, as well as a supervising member. She serves as the UAB’s rep-resentative for the European Consortium of Arts Therapies in Education (ECArTE). Her extensive publications cover topics such as Embodied Perceptional Practices, Clinical Supervision, DMT training, Interculturality, various client populations, Movement Observation etc. https://orcid.org/0000-0002-6958-6797  

Heidrun holds a PhD from the University of Hertfordshire (UK), a master’s degree in DMT from the Laban Centre for Movement and Dance (London), a diploma in dance from the Scoil Stiofan Naofa (Cork, Ireland), and a degree in Special Education from the Pädagogische Hochschule (Graz, Austria).
3:00 - 3:50


Write your awesome label here.

Lisa Hinz, Ph.D, ATR-BC

Lisa D. Hinz, Ph.D., ATR-BC is a licensed clinical psychologist and board certified art therapist.  She is an associate professor and director of the art therapy psychology doctoral program at Dominican University of California.

Dr. Hinz is the author of many professional publications and three books on art therapy. The second edition of her book, Expressive Therapies Continuum: A Framework for Using Art in Therapy was released in January 2020 and builds upon her interest in materials and methods in art therapy. 

Dr. Hinz specializes in the treatment of eating issues, substance abuse, and lifestyle medicine; she maintains a private practice in St. Helena, California.
Write your awesome label here.

Maria Riccardi, Ph.D, ATR-BC, c.o.

Maria is a registered art therapist, a career counselor, a clinical psychologist and the former president of the Quebec Art Therapy Association. She is a professor of art therapy at Université du Québec in Abitibi-Témiscamingue, as well as former faculty member at Concordia University and Winnipeg Holistic Expressive Arts Therapy Institute. 

She collaborates with local non-profit organizations and mental health institutions, developing community-based art studio programs for adolescents and adults who are marginalized due to mental and physical health issues, immigration issues, and poverty. 

She has expertise with veterans living with combat-related post-traumatic stress disorder within the context of trauma intervention as well as in the evaluation of art processes and products during treatment.  She has founded a clinic in Montreal based on the Expressive Therapies Continuum, providing educational and emotional support to children and families. 
Her current research interests include media properties and their role in assessment.
Presenter's site: www.imagesetc.ca
10:00 - 11:20 

Response Art in Art-Based Supervision

Response art is art that is created by art therapists to contain, explore and communicate about their work. These images can be brief sketches, made in one sitting, or more evolved work created over time. Response art may be produced before, during, or after session. When it is made by the supervisee or supervisor and explored in supervision, it becomes an essential component of the supervisory dialogue, accessing and helping to communicate countertransference and other aspects of treatment that are beyond our conscious awareness. 
 
Harm’s touch is an original concept that reframes the complex effects of witnessing as an opportunity for professional and personal growth. As opposed to vicarious trauma, which implies pathology, harm’s touch is a portal for empathy. Response art is a valuable practice when used to help therapists manage and learn from harm’s touch. 
 
This presentation will demonstrate some of the uses of response art in art-based supervision during both in person and distance sessions. This valuable resource augments verbal discussion as we strive to conceptualize treatment and guide new therapists in competent, ethical practice. By making response art to investigate issues that arise in therapy, we engage creativity and imagination as tools to promote clarity of purpose. This brings authenticity to our work.
 
 
Learning Objectives:
At the end of this presentation, participants will be able to:
1. Define response art as it is used in art therapy.
2. Describe two ways to use images, made as response art, in art-based supervision.
3. Describe how countertransference may be explored through response art.
Write your awesome label here.

Barbara Fish, Ph.D., HLM

Barbara Fish has provided art-based supervision in academic and private practice settings for more than four decades. Her research focuses on the use of response art in art therapy. She has authored many articles and book chapters and is this the author of Art-based Supervision: Cultivating Therapeutic Insight Through Imagery (Routledge 2017) and co-editor of Response Art: Shaping Practice, Teaching, and Research in Art Therapy (In press). Barbara is a recipient of the American Art Therapy Association’s Honorary Life Member Award. 

4:00 - 4:15

Integrating Radical Imagination into Arts-Based Supervision

Radical imagination engages hope and creativity with the ability to imagine things not as they are but as they could be. Imagination focusses on facts differently than reason and looks to move and touch the heart. This workshop will focus supervision to become more open to possibilities and expand potential horizons which can be done through arts-based explorations of changing world views and perspectives. Wonder is that place that enhances questions and not answers. It holds the interface between perception and observation and imagination and creativity.  Imagination is required to go beyond differences into commonalities and into a border crossing of moral imagination, anticipatory, utopic, sympathetic imagination to include awareness of the marginalized, forgotten, lost, and excluded feelings and people (Carpendale, 2023). 

Reference
Carpendale, M. (2023) The Magpies Nest: arts-based supervision. Essenze pub. 

Learning Objectives:
By the end of the presentation, the participants will be able to:
1. Define radical imagination and identify at least three forms of imagination relevant to supervision, such as moral, anticipatory, utopic, or sympathetic imagination.
2. Apply one arts-based supervision exercise to explore alternative perspectives, possibilities, or future directions within a clinical or supervisory situation.
3. Identify two ways radical imagination can expand awareness of marginalized, excluded, or overlooked experiences within supervision and support movement from fixed perspectives toward broader possibilities.

Write your awesome label here.

Monica Carpendale, BFA, DVATI, RCAT, BCATR, HLM

Monica Carpendale is an art therapist, educator, supervisor, author, and the founder and Professor Emeritus of the Kutenai Art Therapy Institute (KATI) in Nelson, British Columbia. She describes herself as a geo-logical theorist, and synthesist of art therapy.  She has over 40 years of experience in education, art therapy, and supervision. She has presented nationally and internationally - a phenomenological approach to art and poetry therapy, supervision and eco art therapy. 

At KATI, Carpendale helped shape a training model that brings together clinical practice, creative process, research, community engagement, and connection to the natural environment. Her teaching and supervision emphasize authenticity in therapeutic presence, reflective practice, cultural awareness, and the development of a strong professional identity. She continues to contribute to the Institute as Professor Emeritus through specialized teaching, supervision, and advising.

Monica is a well known author; she has published several books: Essence and Praxis in the Art Therapy Studio (2009); A Travelers Guide to Art Therapy Supervision (2011); A Geography of Dreamwork and Art Therapy (2021); and A Magpie’s Nest: Arts-based Supervision (2023) and co-authored The Golden Salamander: environmental education and art therapy (2025) with Will Parker, her son.  

4:20-4:30 

Anti-Oppressive Supervision: Noticing the Invisible Forces Together

As creative arts therapies continue to expand to different parts of the world, it becomes increasingly important for practitioners to understand how cultural contexts and power dynamics impact supervisory and therapeutic relationships. In this workshop, we will identify the differences between anti-oppressive practice and multicultural practice, expand our understanding of how to create a sense of safety among people whose backgrounds and identities differ widely, and explore ways to reduce instances of oppression in supervision and therapy sessions. The workshop will also include a discussion of how we can leverage the power of artistic expression to explore and support anti-oppressive practice in supervision. 

Learning Objectives: 
By the end of the presentation, the participants will be able to:
1. Define what anti-oppressive practice is and what isn’t.
2. Identify 5 core principles of anti-oppressive supervision
3. Learn 2 different ways to use art making as a way to engage supervisees into the anti-oppressive framework.
Write your awesome label here.

Miki Nishida Goerdt, LCSW, LCSW-C, ATR-BC

Miki Nishida Goerdt is a board-certified art therapist and clinical social worker licensed in Virginia and Maryland. She owns a private practice where she facilitates clinical supervision groups and provides individual therapy. She is also an adjunct faculty member in George Mason University’s Department of Social Work and Lewis and Clark College’s Graduate Art Therapy Program.

As a Japanese immigrant and woman of color, Miki approaches her supervision and teaching with a passion for creating culturally responsive, anti-oppressive learning spaces where therapists can foster a sense of belonging. She regularly presents and publishes on topics related to anti-oppressive practice, race, diversity, and inclusion.

As an artist, she engages in social justice advocacy through both her artistic expression and exhibition organizing. Miki uses art to make invisible stories visible to raise awareness of marginalized experiences in society, explores emotional healing, and facilitates a sense of connection.
Write your awesome label here.

Tsz Yan Winnie Wong, LCPC, ATR-BC

Tsz Yan Winnie Wong is a board-certified art therapist, Licensed Clinical Professional Counselor, EMDR-trained clinician, clinical supervisor, educator, researcher, and artist based in Chicago. Her clinical leadership centers on trauma-informed and reflective supervision, with a particular focus on supporting counselors and art therapists working with survivors of trauma. She provides individual supervision, oversees clinical internship program, and delivers professional training in reflective supervision and crisis intervention. In her clinical practice at a community-based sexual violence support program, Wong integrates anti-oppressive frameworks, critical feminist perspectives, and relational-cultural theory in providing long-term trauma therapy to survivors of all ages. 

Wong’s scholarship focuses on trauma recovery and culturally-responsive art therapy practice. She has published scholarly work, serves as a reviewer for journal submissions and graduate theses, and has taught in a graduate art therapy program. Her artistic practice explores belonging and community resilience through papermaking, participatory art, and site-specific installation.

Wong is also the founder of Dialogue in Art, an accessible community art studio established in her hometown of Hong Kong to support underserved youth. Her work across Hong Kong, Singapore, and Chicago brings together clinical practice, scholarship, and community engagement.

https://www.WinnieWongArt.com/ 

4:20-4:30 

The Contribution of Dramatherapy Supervisors to Supervision in Education

Lisa and Mary Ann will share some of the thinking that has come out of their co-authoring of a chapter due for publication in 2027 which examines the role dramatherapy supervisors has in offering supervision in education. 

They will particularly think about the power of offering supervision to Senior Leaders/Principles and the impact this has not just on the supervisee but on the system as a whole. They will explore why the language of play and creativity is vital and how this connects to the language of the client brought to supervision – children/young people and how the language of supervision also supports educators in being able to attend a space where there is no prior experience of processing feelings in service of the emotional work. 

How unprocessed material is contained in dramatherapy supervision and how pace is key. They will offer practice examples from work in both Australia and the UK and how the work has been able to scale up as well as exploring barriers to this happening.

Learning Objectives: 
By the end of this presentation, participants will be able to:
1. Explore why in particular dramatherapy supervision has a strong role to play in education
2. Apply 2 princples of the PACE of the work
3. Evaluate the impact of the work not just on supervisees but also for children and the educational settings culture
Write your awesome label here.

Lisa Lea-Weston

Lisa Lea-Weston is the Director of Talking Heads Supervision, a social enterprise based in the Uk and delivering regular, external supervision to over 600 senior leaders in education on a long-term basis. Lisa also oversees the quality of delivery for the Wellbeing Support for Senior Leaders for Education Support. A charity which offers 6 supervision sessions to Senior Leaders in Education across the UK. The sessions are funded by the department for education and by April 2027 will have seen more than 4k leaders.
The ultimate hope of delivering supervision in education is to improve outcomes for children by supporting those who shape their lives and the cultures of their educational settings.
Lisa is by original training a dramatherapist having predominantly worked with children and young people both in and out of school. She was also clinical lead for people with profound and multiple learning disabilities (Adults) in the NHS for ten years.
Lisa has written several published chapters/papers on safeguarding and fitness to practice."
Write your awesome label here.

Mary Ann Hunter, Ph.D.

Based in Lutruwita (Tasmania, Australia), Mary Ann supervises education leaders across Australia while facilitating creative learning and research as an Assoc Professor of Education at the University of Tasmania. She brings grounded practices of curiosity, creative and presence to her commitment to fostering an emerging ecology of supervision in education.  She is a board member of the Australasian Association of Supervision, co-facilitates an accredited course in supervision at the University of Sydney, and is co-author of Professional Supervision for Principals (Cambridge UP, 2025).  She continues – albeit haphazardly – with formal study in contemplative care.
4:00 - 4:15

Interactive Drawing Therapy: A Backbone for Art Therapy Supervision and Practice?

This presentation is an introduction to Interactive Drawing Therapy (IDT), a unique counselling ‘tool’ that works with words, images and feelings/behaviour. Some IDT basic principles are similar to art therapy but some aspects differ significantly. IDT was developed in New Zealand before it came to Australia and has a growing
interest of practitioners. In IDT, the drawing becomes a mirror for the client, helping them see themselves from a new perspective that facilitates insight, inner resourcefulness and change. IDT is used to facilitate supervision as a quick, effective method for supervisees to clarify and process difficult impasses in their
practice often linked to countertransference issues. IDT assists clients to express themselves and move from surface issues to deeper layers and feelings through the focus and use of client generated metaphors. In IDT the therapist formulates drawing
cues from what is said so words are a significant component of the method. IDT works with metaphor and symbol as they are determined by the client when working at depth. IDT incorporates drawing methods safely and respectfully into clinical practice frameworks and can also be used adjunctive to other theoretical
approaches. Different drawings appear at different stages of the therapeutic process.
The concept of ‘levels of change’ help establish where the client is and facilitates the client to reveal themselves to themselves. IDT provides a structured method of drawing use that contributes to its popularity and effectiveness. In short, IDT provides a backbone for clinical use of drawings that enhances clinical best practice,
ongoing professional development and clinical supervision.

Learning Objectives:
By the end of the presentation, the participants will be able to:
1. Apply Interactive Drawing Therapy(IDT) in their practice
2. Examine similarities and differences with art therapy ethical practice;
3. Explore IDT principals and integration into clinical supervision.
Write your awesome label here.

Annette Coulter, MA, AThR, PACFA

Annette Coulter is an art psychotherapist, published author, interactive drawing therapy specialist and practicing artist. She is an accredited supervisor with the Psychotherapy and Counselling Federation of Australia, (PACFA), and an honorary life member and approved supervisor of the Australian, New Zealand, Asian Creative Arts Therapies Association, (ANZACATA). Her specialization is children, adolescents and family/couple work. She has completed further training in child and adolescent psychoanalytic psychotherapy, sand play and family art therapy. She has worked in child and adult mental health, intellectual disability, residential and community facilities, special schools and community services, including running an adolescent and family counselling service and providing program development within corrective services. She has taught on four art therapy programs in Australia and overseas and helped pioneer art therapy in Australia, Britain and Singapore. She co-founded the Australian and New Zealand Art Therapy Association, (ANZATA), the pre-cursor to ANZACATA, and in consultation with USA and UK associations, contributed to the formulation of policies and procedures, many of which remain in place to this day. Through The Centre for Art Psychotherapy, she provides clinical supervision, consultation, and training, including Interactive Drawing Therapy, (IDT). 
Publications include: The Introductory Guide to Art Therapy: Experiential Teaching and Learning for Students and Practitioners, 2014; Art Therapy ‘Down Under’: Perspectives on the Profession from Australia, New Zealand, 2026; Australia - Family Art Therapy: Dots, Meaning and Metaphor, 2015; Contemporary Art Therapy with Transient Youth, 2012; ‘Came Back – Didn’t Come Home’: Returning From a War Zone, 2008; Couple Art Therapy, 2007. 

4:20-4:30 

Community and Arts-Based Supervision: A Holistic, Co-Held, Creative Space

This presentation explores community and arts-based supervision as a holistic, relational, and creative space for professional reflection and growth. Moving beyond supervision centred primarily on verbal case discussion, the approach invites image-making, metaphor, embodied awareness, and creative process as ways of accessing multiple meanings and deepening reflection on therapeutic work. Particular attention is given to creating a strength-based and supportive supervisory environment that nurtures professional confidence, self-trust, curiosity, and the supervisee’s own voice, intention, and instinct.

Drawing on experiences of individual, group, and community-based supervision, the presentation considers supervision as a shared space in which uncertainty can be held rather than immediately resolved. Arts-based exploration can support externalization, perspective-taking, creative problem solving, and awareness of relational and emotional processes that may be difficult to articulate verbally. The community dimension further emphasizes reciprocity, shared creativity, co-regulation, and the resources that emerge through connection with others. Together, these perspectives invite supervisors to cultivate a reflective and nourishing space that supports both clinical responsibility and the ongoing development and well-being of the therapist.

Learning Objectives: 
By the end of the presentation, the participants will be able to:
1. Identify at least three principles of community and arts-based supervision, including strength-based practice, shared creativity, and reflective use of metaphor or image.
2. Describe two ways arts-based supervision can support perspective-taking, self-awareness, or exploration of complex clinical material.
3. Apply one arts-based or community-oriented supervision strategy to a community supervision scenario.
Write your awesome label here.

Lindsay Clarke, MA, ATR, RCAT, CCC

Lindsay believes in the importance of nurturing community and creativity. For the past 10 years she has provided art therapy at a women’s shelter, schools, and art hives. She has enjoyed developing and facilitating community art exhibitions to support the voices of those who have survived violence, the impacts of suicide, and living through homelessness and mental illness.

She now offers art therapy to people of all ages at her Montreal studio, atelier lanterne. Her practice is with a focus on art making and creative process as a catalyst towards change, health, and empowerment. Her work is guided by principles of trauma-informed, attachment-based, and strength-based art therapy practices.
Lindsay provides supervision to individual art therapists and also within a community context, in order to facilitate ongoing growth, curiosity, and support.
Write your awesome label here.

Carmen Oprea, MA, MFA, ATR-BC, RCAT

Carmen is a registered art therapist with post-graduate training in sandplay therapy and cognitive-behavioural therapy. Holding master's degrees in art therapy and fine arts, she is currently a doctoral candidate in psychology.

Her professional career includes art therapy services for individuals and groups of all ages with various life challenges, at her clinic, Accès Art Therapie. She deeply resonates with Indigenous wisdom and strives to provide culturally sensitive art therapy to Inuit and First Nations adolescents. She is the creator of World Art Therapy Conferences and co-founder of the Creative Arts Therapies Events platform.

Carmen was part of a dedicated team at Concordia University, engAGE Living Lab project and she is co-investigator in a research projects related to art therapy and depression at the same university.
She provides supervision to creative art therapists in person and online.
4:30 - 5:45

Round Table: Arts-Based Supervision

This round table brings together leading voices in the creative arts therapies to explore the evolving landscape of arts-based supervision across training, academic programs, clinical practice, and continuing professional development. Drawing from diverse disciplines, cultural contexts, and supervisory traditions, speakers will reflect on how creative processes, image-making, movement, music, drama, metaphor, and embodied approaches can deepen reflection, relational awareness, and professional growth.

The discussion will also consider current challenges and future directions in arts-based supervision, including how these approaches are taught, evaluated, and integrated within professional standards and institutional settings. 
Write your awesome label here.

Panelists TBD

Jacques Stitelmann PhD, is a artist, psychologist, psychotherapist and art-therapist. Founder and director of l’Atelier, Geneva, institute for research and education in the art-therapy field. He published many articles about art-therapy, some books like “Le concept de cadre en art-thérapie” ou “Formes et modalités, des concepts pour l’art-thérapie”, and some poetry books. Some of his paintings are in several private and public collections in Switzerland.
Write your awesome label here.

Cathy Malchiodi, PhD

Cathy Malchiodi, PhD, LPCC, LPAT, ATR-BC, REAT holds a doctorate in psychology and is an expressive arts therapist specializing in the treatment of traumatic stress.

Dr. Malchiodi has extensive experience in the areas of trauma, attachment, disaster relief, and adversity. She is recognized as one of the leaders in trauma-informed care and has assisted more than 500 agencies, organizations, and institutions in developing trauma-informed, expressive and responsive programming including the World Health Organization, United Nations, US Department of Defense, Kennedy Center, Harvard, MIT, Johns Hopkins, and numerous universities, mental health, community, and healthcare agencies in the US and throughout the world.
For the last three decades Cathy has worked with traumatized children, adolescents, adults, and families, expanding the range of understanding of non-verbal, sensory-based concepts and methods. She is the executive director of the Trauma-Informed Practices and Expressive Arts Therapy Institute [see www.trauma-informedpractice.com] that has provided online and live training in expressive and somatosensory approaches to over 25,000 practitioners around the world [see www.cathymalchiodi.com].
Write your awesome label here.

Carmen Oprea, MA, MFA, ATR-BC, RCAT

 Carmen is a registered art therapist with post-graduate training in sandplay therapy and cognitive-behavioural therapy. Holding master's degrees in art therapy and fine arts, she is currently a doctoral candidate in psychology.
Her professional career includes art therapy services for individuals and groups of all ages with various life challenges, at her clinic, Accès Art, in Montreal. She deeply resonates with Indigenous wisdom and strives to provide culturally sensitive art therapy to Inuit and First Nations adolescents. She also provides supervision to creative art therapists in person and online.
Carmen is co-investigator in a research projects related to art therapy and depression at Concordia University.
She is the co-founder of Creative Arts Therapies Events and organizer of World Art Therapy Conferences.
Created with