Kramer's Sublimation

In this chapter Henley explores Kramer’s interpretation of Freud’s concept sublimation. This psychodynamic involves the psyche’s utilizing the primary process as means of fueling creative energy, by distilling directly expressed aggression and libido, until it reaches formed expression. The first case involves a long-term blind client who as a child began with regressive aggressive clay works that were “crude and disjointed.” After years of art as therapy, Christopher’s young adult figurative sculpting began to serve “self-expression and communication,” the hallmarks of sublimation. After this introductory example, come two complex images, which blur the boundaries of sublimation. Two cover art images by Henley and Kramer were published on the cover of Art Therapy. Addressing Henley’s work, Kramer objected to its publication, terming his graphite drawing a “private picture” with unresolved aggression and libidinous elements, which demonstrated unneutralized drive energy. Turning the tables, Henley then addresses Kramer’s own published cover, an oil painting depicting a subway rider who is African American, derelict, and passed out. Henley pointed out her image may be construed as playing into cultural stereotypes and whose intent was questionable by virtue of current politically correct mores. Each argument was intense, highly analytical, and personal – reflecting the complicated dynamic between both artists and the limitations and expansiveness of her signature concept.