A Review of “Creative States of Mind: Psychoanalysis and the Artist’s Process”

Patricia Townsend explores the complexities of what it means to be an artist in her book Creative States of Mind: Psychoanalysis and the Artist’s Process by questioning the internal and external states of an artist and their approach to art-making as it relates to psychoanalytic theory. Drawing from the work of psychoanalysts such as, Donald Winnicott, Melanie Klein, and Christopher Bollas, Townsend provides insight into the stages of the creative process as it evolves from the artists unconscious into a finished artwork. Townsend’s background is in both art and psychoanalysis. Her art practice centers on moving image, photography, and installations. She obtained a PhD from the Slade School of Fine Art, University College London, where she completed much of her research on this topic. In the introduction, Townsend states that she is “interested not only in what artists do as they make a new work but also how they feel” (p. 2). Throughout the book, she argues that there are multiple stages to an artist’s creative process. She breaks down these stages chapter to chapter starting with the “pre-sense” or first unconscious connection an artist may have with a potential idea for an artwork, to its final release into the world for exhibition. Her investigation leads us into the internal and external influences of how an artist develops an idea. Beyond the “pre-sense” and development of an idea, later stages include the artists relationship to their medium, state of mind during creation, experiences of playfulness and also aggression, and how the space of their studio or canvas can act as a container for creative productivity. Her research methods into the artist’s process consist of a heuristic study on Townsend’s own experience as an artist, interviews with 33 artists she has direct access to, and an extensive literature review of psychoanalytic theory as it relates to the research subjects. For example, Townsend draws a connection between early childhood attachment, or the mother-infant relationship, and how an artist forms a relationship to their artwork. She discusses Winnicott’s concept of a transitional object and transitional phenomena as the transition an artist might have during the “pre-sense” stage, where their unconscious connection or spark of artistic inspiration becomes a potential idea that requires further investigation. In each chapter, Townsend provides detailed examples of artists experience along with theoretical text that bring into question the artist’s process, making it easily digestible for the reader. She encompasses the artist experience in what it means to be human as the artist yearns to connect with themselves and the outside world through visual expression. As an art therapist, I find there is a dual identity between the artist and therapist self within our field. Townsend infuses the two, allowing us as clinicians the space to question our own relationship to art-making and the therapeutic value it holds. It would be interesting to know more about Townsend’s professional identity as a psychoanalyst as it relates to her art practice. I would be curious to know if it influences her creative process more than her artist counterparts in this book. Although she speaks firsthand about her own artistic process, I found she highlights the act of creating from an artist lens without significant regard for her background in psychoanalysis. Overall, I would recommend this book for any creative, professional artist, or therapist interested in understanding the psychoanalytic theory behind what it is like to be an artist and how an artwork comes into fruition.