“what are the particularities of people who become artists?”, and what observations can be made about aspects of their developmental course? And ofcourse, how do they navigate the Oedipal stages?
My main concern, and really what the aim of my work is to facilitate, is how the artist enters into the symbolic world. (I believe this is my wording, it is a combination of Lacan & Searle) Anothwr way of saying it is, how does the artist encounter castration? Can we say there is a structural commonality?
I understand the impulse to go resent and reject this, on the basis that everyone has a subjective and particular constitution, however, since the aim of my clinical work is, essentially, how to turn trauma into creation, or, better put, how to emphasize and encourage how the artist is already engaged in that process for better or worse.
That is to say a clinic of the synthomme, and yes, synthomme is not specific to trauma, and actually trauma is not the focus, but I use that word as it is used in the common vernacular lately - that is to say where a void has been torn open, and then either covered up, filled, left gaping, or, hopefully, made use of in a creative way that constructs the subject, and, with my emphasis, produces artwork symptomatically and through jouissance.