[Music]
jellyfish the monster in all its
terrifying splendor ancient beauty
sublime transformed by revenge into
brilliant hair horror vision of
some and especially a look that
petrifies the one who cross it but have
I really need to introduce it to you
everyone here does not have it already
encountered in one form or another
because in fact jellyfish is everywhere in us
around us she is the fear the
suffering the ill-being the sickness the
ours the world’s resist him
it’s really fighting a fight
But this fight is not on equal terms
because if we look at jellyfish in front
we are petrified like all those
who sought to attack him live
because his power and all-powerful
so it’s also we want to attack
jellyfish
what to do all that hurts and well
bigger and stronger than us
we weaken and may even have us
carried out until the night the alienation
we often do not have the strength
to act and let us act by all
those who seek to control us from
outside as by those who already
took power inside
new and the worst is when we do not
we sell even more then costs
is the fight lost?
advanced
Well, it’s not counting on
the existence of a pretty cunning
extraordinary detour strategy
the example is given to us by drilling
for the Greek hero gave himself for
mission to kill the gorgon jellyfish is
to bring back his head
how does it break through know
very well he can not fight
only the monster will he do
call for external help in
no one from athena athena the very
cunning goddess of war and
justice athena will be present in combat
but she participates only indirectly
his help will come from a very tool
precious
one of his main attributes his
silver shield
this shield is so polite it
can serve as a mirror so athena goes
place this silver shield between pierced
jellyfish during the fight
so that on the one hand breakthrough
can fight without needing to
look at his enemy in the face and that
on the other hand jellyfish petrifies
herself discovering her own
reflection in the shield is thus pierced
can behead it without danger
silver shield will have constituted
the strategic element of
diversion allowing to pierce
come out winner to sum up us
so we have four actors in the presence
during this fight there is a lost hero
it’s a monster enemies the gorgon
jellyfish a friend athena and
fourthly the main character
the silver shield
detour strategy symbol
so why this myth of Perseus
can he serve us today it’s
that it is in every way transposable to
field of art therapy these are
exactly the same actors in
presence
ago to a hero’s hero is you
here it is every one of you
in all singularity it is
secondly the monster is neither the
monster enemies well it’s the world
wicked that’s what scares this
that hurts what makes it sick that this
come from outside or from
interior
but it’s also third
presence in nice is your companion
of travel
the art therapist and fourthly well
the druze tool that famous shield
of money who is here personified by this
that we will call the process of
artistic creation
so I will offer you a small
experience and ask you to close
eyes closed all eyes if you
please for a few moments and
let yourself be guided by my voice I will
me too closed my eyes
so close all eyes and I will
invite to imagine the place of action
you are in an artist’s studio
try to soak up
the atmosphere of this place
by observing everything in them
objects tools skins tubes
the brushes the colors the coulures
on the walls the tasks on the
rags also try to you
impregnate with a particular smell in
an artist’s studio sticks the oil of
linen turpentine dust
also imagine
another person is present with
you in this workshop this is your
travel companion
the art therapist she wall mounted
a large sheet of white paper is
placed on a table a plate filled
of black paint and she hands you a
brush a very nice big brush and
bushy and invites you to grab it
to put on the sheet of paper the
traces like that comes
so you get moving you
you grab the brush and you go
you place in front of the sheet
before you start you are invited
to put your free hand on the surface
of the leaf to feel the water grain
also try to soak up the
whiteness of the paper of its brilliance as
if you wanted to go inside
and then you’re just going to tend the
arm that holds the brush and press the
brush on the sheet and already a
first form appears or all at
less a first trace
and then you continue to widen
a little bit your gesture by stretching towards the
right to the left up towards
there as down to like that
just
the important thing while you trace and
to try to observe how your track
follow the movement of your arm try
also to feel how your brush
slip on the sheet and feel the
softness and smoothness of the paint
which spread gradually on your
on your track on your sheet and
that’s how you already see
appear a first form on the
leaf and then you go back to
your plate to recharge your
brush with paint etc the moment
very important in the process for
to patrol for everything there is in the
material
to soak in and then during
that you do that you reload
your brush simply try
to observe fluidity flexibility
the lubricity the the viscosity also of
your material observed the depth of the
black its velvety and then when the
brush and sufficiently recharged you
will you place yourself again in front of the
leaf and continue like that comes
the traces to start
especially do not think about letting
you simply guide by your hand and
by your arm relieved all off
you of any particular intent and
that’s how little by little you
will see children appear
details of sign symbols
maybe strange and then keep
still eyes closed one has not
totally finished and then you go
rest your brush and move you back
slightly to observe with a
small distance your production
observed
look at how space is organized
from your sheet observe your lines the
straight curves
how they do not cross meet by
places and how does it deviate to
others watch your features full ones
who are emptying also observed your
thickness and brush strokes more
hungry observed every detail because it’s
there that everything is played in the observation
the most minute of the details and its
details will prove invaluable by
following
and then quietly I’m going to
invite to come back
here and now all together in
our beautiful room of the great theater of
limoges and reopen the eyes for the
following the art presentation
therapy there are four 4 elements that
are going to constitute this so that this movement
unpublished resistance is
firstly the first trace that
you asked earlier that
who came spontaneously who has
sprung out of your hands it’s secondly
what we did right away
after that is his careful observation
third consecutively
it’s the inner feeling associated
at this sighting felt himself must
to be in the deepest of oneself at most
near you and it’s after
fourthly the following trace the shot
brush the brushstroke follow the
following production the next work
and all that will fit into a
process so this is so on
so on and on and on and that’s
as well as you enter a movement
unpublished that of the creative process
this process is a mediation between
you and the world
he is the shield of athena
it’s him the detour strategy because
as you realized
during the little experiment
there is no direct message we do not
look no jellyfish in the face there is no
of intentional expressions to say
for example I am sad where I paint
my cancer well no lahrissi
not interested in the substance but in the
wildlife
exclusively in the form and during
this process the shapes you will have
created will take more and more of
complexity will become more technical
will also become more present for
you is more important
and its forms well they take
root in recognition by you
even some of these little details
signs of these little symbols of which I
you spoke just now
and these little signs these symbols these
details are essential because it’s them
that allow you to put yourself in
contact with your repository images
the most deeply rooted ones
that allow you to say they allow
to say oneself in all singularity and to
end of a time that may be my most
or less well these forms that you
have created will end up having their
own existence
by standing out from yourself in
vault go past this is the situation that
knows each artist
when he must recognize that he has
exceeded by his work he was
spent something mysterious
that he has not mastered and that’s what
only then will you have
even you realize
create your own resistance tools
because you see art in art
recreate the world in its image to zero
other similar
and that’s all the power of
work of art therapy that contains
inherently the possibility of
change the world
it’s like we mean I’m acting
on the world
by letting me act by the form
symbolic that sprung from my hands
resist
would thus pass through the invisible of the
metaphor contained in the form
artistic is supposed to be in this invisible
what could its power be
which allows everyone no matter who it is
good or bad to recreate in
becoming his own artists come from
the kind to oneself is to put oneself in
active and unlimited resistance to
all those who break us alienates us
we chained we searched for us
control that also returns
all of us questioning
fundamental that is its place of
creators in society because create
it’s really resist thank you
[Applause]
”
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