By Denys N. Wheatley
Written with disarming honesty by way of a long term patient of bipolar disease, with greater than part a century’s event of intervention and remedy, this hugely own quantity strains the effectiveness of a treatment modality for psychological sickness that has won a lot floor some time past 20 years: paintings. the writer started to use artwork, and particularly doodling, from 1998 as a manner of externalizing his emotions. Its expressiveness, accessibility and energy-efficiency was once perfect to the catatonia he skilled in the course of the bouts of melancholy which are a characteristic of bipolar affliction, whereas because the low moods lifted and his power surged, he accomplished extra formidable and tricky works. in addition to being hugely eclectic, Wheatley’s assembled oeuvre has afforded him either insights and healing intervention into his , as soon as deemed hugely debilitating and taboo, yet even more socially permitted now that popular victims akin to Stephen Fry have acknowledged their reports of the situation. After a gap account of the way the photographs have been generated, the amount reproduces a ‘gallery’ of chosen paintings, after which bargains a longer epilogue reading the art’s connections with the sickness in addition to the author’s review of ways each one try out at visible self-expression used to be, for him, a healing intervention. Wheatley, a mobilephone biologist who has loved an entire profession in melanoma examine, has had no formal education in artwork, but his haunting photos, a lot of them akin to lifestyles kinds, are delivered to lifestyles via his perceptive, self-aware statement. This e-book might be of curiosity to psychologists and psychiatrists one of the wider scientific career in addition to humans being affected by any kind of bipolar ailment regardless of the severity.
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Extra resources for BipolART: Art and Bipolar Disorder: A Personal Perspective
Assuming others can see a doodle, the question that intrigues me is whether art of this quite spontaneous nature can be analysed like conventional paintings by critical minds (in this case psychologists and psychiatrists as well as art critics), and has any value other than the seemingly cathartic effect on the artist. It is clear that the doodle that has just been developed is not a picture of a recognizable object or set of objects that took shape in a predictable (predetermined) manner. ). On this account, it cannot be challenged as a poor representation of a subject.
However, reality is life as you see it, and it may differ considerably from what others see. With different mind-sets, reality as conventionally understood (by consensus) can be quite dramatically changed from this “reality”—I show one example where a familiar building to all in the locality is followed by another (“Dacha”) that is an imaginary building of the same type. But if some artwork portrays something which is easily recognizable to others, as is the case with the lodge house, then there is little question about what it is and in this case where it is.
There is also a blue-purple spiral structure near the flower, which might be quite inanimate; this is a recurrent motif in my work. The picture was done in 2004, and cannot be other than closely related to the blue spiral drawing seen on page 76, which had been completed in 2001. Helical structures, among them shells, feature prominently in nature, both at the macroscopic and microscopic levels, right down to the macromolecular basis of life itself in the molecule of DNA. Clearly it is a form that is constantly in my mind and will be found throughout many of the other pictures in this book.
BipolART: Art and Bipolar Disorder: A Personal Perspective by Denys N. Wheatley