The overall aim of this thesis is to explore the process of working with the Edwards claywork method with a psychotherapy client who had significant relational difficulties and feared being exposed as defective. Within this there are particular aims: Firstly, to investigate whether the distancing that art therapy can create, can help the client with relational difficulties to tolerate unexpressed disavowed feelings, in particular her sense of shame about being exposed as defective; and secondly, to examine whether material evoked through the claywork process can assist in furthering the psychological formulation of this kind of client. The research was a phenomenological-hermeneutic case study of a psychotherapy client, called Kim. Kim’s experience of therapy, including two claywork sessions, was documented. This comprises a thematic narrative of her therapy process prior to the claywork process, as well as a thematic narrative focusing on the two claywork sessions. Her clay sculpture was photographed and alphabetically labeled according to the chronological order in which she made the eight pieces comprising her sculpture. A hermeneutic reading of the narratives was conducted using theoretical perspectives including object relations, Adlerian psychology and art therapy. It was concluded that, firstly, the distancing that art therapy can create does help the client, who is afraid of being exposed as defective, to tolerate previously disavowed and unexpressed feelings; and secondly, art therapy such as the Edwards claywork method, does deepen psychological formulation of the client’s affective and relational difficulties. However, although the image may graphically symbolize unconscious aspects of a client’s psyche, the present study illustrates that a client may not always be able to enter into a relationship with the image or dialogue between conscious and unconscious states. In this respect, the present study focuses on aspects of art therapy of which there is limited literature.

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Aims: It is argued that one’s sense of self is threatened and eroded by mental illness. According to the narrative perspective, one’s personal life narrative is displaced and maintained by a story of illness. However, dialogical self theorists argue that mental illness limits the number of ‘I’ positions available within an individual, resulting in the positions/voices becoming rigid and being dominated by a singular, monological position. The aims of this qualitative study are to attempt to understand and examine psychiatric inpatients’ personal lived experiences of an art group. The goal of the study is to focus on the impact of the art-making process on these patients with regards to the construction of their sense of self. Design: A qualitative research design was used in the study. Method: Four psychiatric in-patient art group members – three male and one female, between the ages of 27 and 40 – were interviewed. A semi-structured interview schedule consisting of sixteen questions focusing on the interviewees’ experiences of the art group was used. The interviews were analysed using an interpretive phenomenological analysis. Results: Three superordinate themes emerged: What the Participants Gained From the Art Group, Sense of Community and Leaving a Mark, and The Experience of Self in the Art group. All three Superordinate themes fall within the participants’ experience of the art group. Conclusion: All four of the participants expressed positive feelings and enjoyment towards the art group. Participation in the art group provided the participants with a sense of pride, achievement and hope within their lives. As a result of participation on the art group, one of the four participants was able to construct a thin alternative experience and sense of self.