The Transitional Creative Space

The containing transitional creative space is the foundation of my approach. Without a living container, there cannot be a symbolic creative process.

The containing creative space is a space between conscious and unconscious, between day and night. As an in-between space, it is a transitional space, a symbolic space. It is not only a private and personal quiet space, but it is particularly defined by your attitude towards your work, by seeking the inner other.

Let’s start by amplifying “the transitional containing space” as a symbol.

According to Erich Neumann, the symbol of the vessel developed from the relationship of the mother with her baby. In ancient times, the making of a clay pot was associated with the making of a child, the shaping of life. Containment is a vessel.

The birthing vessel is a womb, a symbol of creativity. As potbellied, the vessel, or container, bears and incubates all things. Pregnant with life, it gives birth to the new. This mystery of creation, is a numinous experience.

But if the vessel is the womb, it is also the tomb and as such the vessel represents the possibility of death to the old thing and birth to the new, the symbol.

The transitional creative space

Like the fetus in the womb, the container and the unfolding process are inseparable. If one creates a safe, contained space and engages with a creative medium when in the grip of a mood, and if one enters that space with genuine sincerity, turning inward with respect, with expectation, something will emerge, because it wants to.

The creative medium is a part of the space. Finding your right medium might take some search. It may be painting, drawing or sculpting, or dance or enactment, to name but a few. Simpler is better. It must suit your personality. If you enjoy what you are doing, it furthers the process. The right medium goes a long way in getting past the inner critic, and getting started.

Before you start, make a note of what is on your mind. After completion, write down how your work took shape. Take note of all associations, for it is a part of the response of the unconscious and is usually important.

We start with what we have; an emotion, an idea, a dream fragment or fantasy, or we just start by handling the material.

Throughout the process, always stay with the energy. If all the energy has not been “said,” it is incomplete. On the other hand, if you stay with the energy, you will not force the process.

When one is in the grip of an intense emotion and gives expression to the mood, and when it is allowed to unfold gradually, it brings a feeling of containment and inner alignment.

Often, we ignore the responses of the unconscious, the fantasy fragments, for it seems too simple, or stupid even, and then we miss its significant message.

Finally, put your work somewhere where you can see it. By relating to the content, you project more and more into the image. This special way of looking and projecting unconscious content involve more than mere “looking at.” Jung used the word betrachten to describe it, which means to look at but also “to make pregnant… it is alive, it produces, it multiplies.” (Chodorow, 1997, p. 7)

The key aspects of the creative process are also to be found in the alchemical process. They are two perspectives on the same symbolical process.

In Alchemy, Mercurius as the vas is the womb and the fetus. (Jung, CW16:454) That is, he is the container and the divine child, the symbol-to-be; he is the unfolding process.

Mercurius is the fire, and he is the water, (Jung, CW12:338) the eternal opposites forever in conflict. Without the containing vas, the unfolding volatile process will dissolve.

The old alchemists, engaging with their material in their laboratories, strongly emphasized an ethical psychic approach, a meditative and imaginative attitude to the work. In this frame of mind, they unconsciously projected their own psychological processes onto their work, filling everything unknown and empty with psychological projections. (Jung, CW12:332) The unfolding of this process was objectively noted and reflected upon. (Jung, CW12:366)

As “the world creating spirit imprisoned in matter,” Mercurius stands at the beginning and the end of the work; as the tail-biting serpent, he is constantly destroying and renewing himself. (Jung, CW12:404) As such, he is the Self. This is not only the essence of the alchemical process, but also of the creative process.

This process is beautifully demonstrated by The legend of the Indian Paintbrush, written and illustrated by Tomie DePaola.

The Legend of the Indian Paint-brush

Little Gopher was an unusually small boy and could not keep up with the boys of his tribe. He was different, but he had a gift of his own, for he liked to make and decorate things.

When he grew older, he often went to the hills at dusk to think about becoming a man. One evening, he had a vision of an old man and a young woman. They spoke to him and showed him paintbrushes and a white buckskin. The old grandfather told him that these were the tools which would help him find his own place in the tribe. The maiden told him to find a white buckskin and to paint a picture as pure as the colours of the evening sky.

As time went by, Little Gopher found the white buckskin. He collected stones and berries, but could not find the right pure colours of the sunset. However, he did not give up, but continued to search. Even though he longed to ride out with his friends, he remained true to his vision. Then, one night a voice told him that if he went to the hills the following evening, he would find what he needed.

When he came to the hills the next evening at sunset, he was delighted and astonished to find brushes with paint stuck in the ground, each a pure colour of the sunset, the exact right colours. He took one paintbrush after another and painted his picture.

Then he carried his painting back to his people, leaving the brushes where he found them. The next morning, the brushes had turned into flowers, and from then on they flowered every spring. And Little Gopher received his true name.

Discussion of the story

If all goes well, the solution, seemingly of its own accord, appears out of nature. Then, and only then, is it convincing. It is felt as ‘grace.’

~ CG Jung

Little Gopher is troubled and he goes to the quiet of the hills to seek help and guidance from the unconscious. He goes at dusk, the time space between day and night, an in-between space. He withdraws to a high place, he is sincere, he reaches out, and receives a vision with a task and a promise. Devotedly he does as he is told. It is not easy, but he perseveres. He is patient and believes in his dream, stays with his dream.

This period of the unfolding process of individuation, of trying and grappling, is an important period of incubation. The emotions has to be differentiated, the pure colours, have to be discerned from the complex. Then, when the time is ripe, help comes from the other side. Little Gopher accepts this unusual solution and the outcome is life-changing.

By giving your inner content shape, it enters the world. By relating to it, you are influenced to become more of who you are. To receive your true name is to accept yourself, “warts and all,” and to learn to relate to your self, to who you truly are. In doing so you will gradually find your own right and fulfilling place in the world.