Art Therapy: Journal of the American Art Therapy Association, 24(3) pp. 128-133 © AATA, Inc.

2007

Dialoguing with Dreams in Existential Art Therapy

Bruce L. Moon, Milwaukee, WI

Abstract existential framework for engaging with dreams in my

work with graduate art therapy students in techniques
This article presents a theoretical and methodological courses, colleagues in professional workshops, and a num-
framework for interactive dialogue and analysis of dream ber of clients in both private practice and in a psychiatric
images in existential art therapy. In this phenomenological- hospital. In each instance, the dreamers have reported that
existential approach, the client and art therapist are regarded as the process was quite useful to them. Typically, they state
equal partners with respect to sharing in the process of creation that the process helped them to clarify significant issues in
and discovery of meaning (Frankl, 1955, 1969; Moon, 1995; their lives and to develop specific plans of action in
Moustakas, 1994; Yalom, 1980). A brief outline of principles response to understanding the messages their dream images
that underlie the processes of existential art therapy and dream presented. I offer this article as another tool for art thera-
analysis is provided. These principles guide the development of pists to use in the service of their clients.
relationships between art therapists and clients, and with visu-
al artworks depicting dream images. The procedures involved in Tenets of Existential Art Therapy
interacting with dream imagery as presented in this article offer
a depth-oriented technique that can be utilized in both brief Existential art therapy is a journey of self-discovery
focal therapy and in ongoing therapeutic relationships. that is shared by the client and the art therapist. The trav-
el is often difficult, painful, frightening, and almost always
Introduction uncomfortable and anxiety-producing (Moon, 1995). The
purpose of the pilgrimage is to discover and/or create
A number of years ago, as part of my doctoral studies, meaning in the life of the client (Frankl, 1953). The search
I participated in a training seminar in dream interpretation for meaning is aided by the art therapist’s capacity to attend
taught by Dr. Clarke Moustakas. As the session progressed, to the client as the journey unfolds (Moon, 1995).
I found myself inspired by Moustakas’ ideas and methods Through the processes of interacting with and analyzing
and I began to imagine ways to integrate these into my art dream images, the existential art therapist attends to the
therapy practice. Near the end of the seminar, I shared with dreamer by doing with, being open to, and honoring the
Dr. Moustakas a preliminary outline for a model of engage- dreamer’s struggles (Moon, 1995). Underlying the thera-
ment with dreams that integrated art making and existential peutic techniques outlined below are three premises that
art therapy principles with his phenomenological-existential guide the existential art therapist’s interactions with the
approach to dream interpretation. Moustakas’ generous and dreamer/artist and the artworks that portray the content of
enthusiastic support of my art-based expansion of his meth- the dream. These are: (a) the dream is what it is; there are
ods was very gratifying and I hope that by sharing this no hidden meanings, (b) the art therapist focuses on the
process with the larger art community I can, in a small way, manifest content of the images of the dream and the
honor his work and repay his kindness. client’s artwork, and (c) the art therapist refrains from mak-
As a general rule, I do not support directed procedures ing interpretive comments.
in art therapy practice and I abhor formulaic systems of
interpretation. Alas, most rules are made to be broken, and Transcendence and Dream Imagery
this article surely is an exception to my objections to pre-
scribed methods of interacting with clients and their art- Frankl (1953) posited that only the individual person is
works. I am making this exception to my own rule because able to discover and create meaning in his or her life and
the process I describe below has been so helpful to the that, paradoxically, meaning can only be found in the con-
people whose dreams have been an interactive part of their text of relationship to others. Artworks that are based on
art therapy with me. I have used this phenomenological- dream images offer the art therapist a unique portal through
which to connect with the inner lives of clients. As clients
Editor’s note: Bruce Moon, PhD, ATR-BC, LPC, is work with dream imagery in the context of art therapy, they
Professor and Chair of the Art Therapy Department at Mount simultaneously create meaningful personal symbols and
Mary College, Milwaukee, WI. Correspondence concerning this
potentially intimate interactions with the art therapist.
article should be addressed to [email protected]. The author
is indebted to the groundbreaking work of Clarke Moustakas There are few common occurrences in human exis-
(1994) whose phenomenological-existential model of dream tence that evoke more fascination than dreams. People are
interpretation serves as the foundation upon which the existen- captivated, charmed, disturbed, elated, and sometimes ter-
tial art therapy dream dialogue technique is built. rified by the things they see and do in their dreams. When
128
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the subject of dreams comes up in conversation, I cannot equal value to each element; (c) clustering the horizons and
recall ever hearing anyone describe their dreams as boring. deriving themes; (d) determining the existential a priori or
Dreams have the power to summon up memories of events pre-existing concerns expressed in the themes; and (e)
long past, strip away pretenses of the present, and offer pre- developing a course of action. Moustakas theorized that
scient glimpses into the future. The dreamer often comes dreams are made up of a number of phenomena or hori-
face to face with the extremes of delight and dread as inner zons: “The phenomena are the manifest qualities, feelings,
themes of depravity and goodness are given form in thoughts, visions, situations, people and events. Each phe-
metaphoric images and storylines. Sometimes in dreams we nomenon of the dream is a horizon of the dreamer. The
are paralyzed, wordless, and flabbergasted. Sometimes we horizons point to concerns, situations, and relationships in
raise our arm-wings and soar. We murder, make love, move the dreamer’s waking life” (p. 118).
mountains, and run like the wind. “In no other way does The horizons of a dream are focal points that stand out
transcendence of our boundaries occur so vividly, so con- and inspire the dreamer to make associations that Moustakas
vincingly, so passionately” (Moustakas, 1994, p. 79). At no terms “amplifications,” which, upon reflection, lead the
time in wakeful life are we as empowered to break through dreamer to determinations of meaning. Clustering or com-
our limitations as when we dream. Our dreams urge us to bining the horizons and amplifications is a process that
let go, to begin again, to find fresh ways of coping, and to connects the core thematic issues of the dream to the wak-
consider new ways to resolve old conflicts. ing life of the dreamer.
In reference to dream images, McNiff (1992) wrote, Moustakas asserted that analysis of a dream through
“They are themselves art works, soul’s dramatizations that the phenomenological-existential model serves two impor-
help, guide, and extend consciousness” (p. 132). Perhaps tant functions: (a) to disclose the meaning of the dream by
no other psychic vehicle has the power to transport people associations to waking life, and (b) to note possibilities for
so directly into their primary needs, motivations, fears, the future (p. 123). “In the process of obtaining an under-
hopes, wishes, or desires. This is why paintings, drawings, standing of the dream, meanings are derived that point to
and sculptures that are based on dream images are such a new directions for self-fulfillment and well-being” (p. 123).
potent resource for art therapists. Although dreams can The model of working with and analyzing dreams that I
often be mysterious and baffling, illogical and confusing, have adapted is an artistic expansion of the phenomenological-
they are still a compelling source of wisdom. They have existential model that Moustakas developed. While closely
something to say, something to teach; they want something aligned with Moustakas’ method, my method is distin-
from us, and they want us to pay attention to them. guished by its attention to the creation of, and engagement
It is possible to catch glimpses of the multiple mean- with, visual artwork(s) that emerge from the dream. As
ings of dreams, to listen to what they have to say, to under- McNiff noted, “dreams speak through visual imagery, envi-
stand and be directed by them. However, this cannot be ronments, movements, and feelings as well as words” (p.
accomplished through narrow systems of interpretation 128). For many people the act of making art speaks more
like those presented in the dream analysis books one often eloquently and much louder than words. When working
sees for sale in grocery store checkout lines. These “cook- from an existential art therapy perspective, it is important
book” guides to self-analysis constrict the possibilities for to regard dream imagery as having intimate, animate and
meaningful dialogue with dream images by proposing fixed autonomous qualities. This means that dream images stand
and specific meanings for each particular image. If we real- for themselves and not as symbolic masks of something
ly want to understand our dreams or the dreams of anoth- else, following the principle that “nothing is hidden or
er, we must grapple with the multiple potential meanings latent” (Moustakas, 1994, p. 112). When treated as
that dreams offer. A dream’s meanings may change over autonomous entities, each image in the dream exists for
time and the dreamer must be open to all possibilities. The itself and has many possible meanings and multiple levels
structure of the interactive process described in this article of importance to the dreamer.
is prescriptive but with the caveat that there is no pre-
scribed formula for the interpretation of imagery offered. The Process of Engaging with Dreams in
In existential art therapy, all interpretations of artworks are Existential Art Therapy
left to the client. The art therapist refrains entirely from
interpreting the client’s artwork or dream content. In working with dream images in existential art thera-
py, the art therapist’s initial task is to foster an atmosphere
Moustakas’ Existential Model of of receptivity and attentiveness within the therapy milieu.
Interpretation of Dreams The initial responsibilities of the client are twofold: to cre-
ate an artwork portraying the dream and to create a writ-
Moustakas (1994a) developed his phenomenological ten record of the dream.
approach to understanding and interpreting dreams over The first step of the phenomenological-existential art
many years. It involves five processes that provide a system- therapy dream dialogue and analysis is to create an image
atic approach to dream analysis that follows a method of the dream. Depending on the artistic media used and its
known as phenomenological reduction. These are: (a) inherent time demands, the creation of the dream image
incubating and recording the dream; (b) determining the can be done during or prior to the therapy session. It is
“horizons” of the dream, which is a process of assigning important to note that dreamers often report very complex
130 EXISTENTIAL ART THERAPY & DREAMS

dreams consisting of many images. Sometimes such com-

plicated dreams can seem too overwhelming to express in
art. In such instances, the art therapist may suggest that the
client choose one specific image or scene to portray. This
instruction is based on the premise that whatever needs to
be expressed at a particular time will be expressed (D.
Jones, personal communication, April 15, 2005).
When the client has completed the image of the dream
the artwork is placed between the client (or dreamer) and
art therapist. Depending upon the form of the particular
art piece, it may be put on an easel, taped to the wall, set
on the floor, or placed on a table. Throughout the course
of interactions related to the dream the art therapist refers
to the physical reality of the artwork and its particular ele-
ments. The artwork is an intermediary and is regarded as
an autonomous entity, an equal partner in the triadic rela-
tionship with the dreamer and therapist.
The dreamer is then asked to write a script of the Figure 1 Blindfold and Old Skin
dream and to make a copy of the script for the art thera-
pist. The purpose of creating the visual image and written
record of the dream is to reconstruct it in a conscious state.
After the script is written, the dreamer reads the dream An Illustration of the Process
story aloud and identifies key elements in the dream image.
Addressing the art piece, the art therapist then reads the This section of the paper is an illustration of the
script back to the dreamer and refers to the key elements in process of dialoguing with dreams in existential art therapy
the artwork. For the dreamer, the experience of hearing the based on an examination of one of my dreams. In this
script read by another person often is quite powerful. vignette I use two different voices to portray different roles:
as the dreamer and as the art therapist. As an ethical safe-
Hearing the dream in the therapist’s voice fosters a sense of
guard, rather than using an actual client’s dream I ask the
intimacy that helps to set the stage for what follows.
reader to follow the dialogue “as if ” the situation were set
The art therapist then asks the dreamer to underline
in the context of a therapy session. Although at first glance
words or phrases in the dream script that seem to hold par-
it may seem that the process is overly structured, with
ticular importance. Moustakas (1994) calls these signifi- familiarity and experience there is a flow that develops log-
cant phrases the “horizons” of the dream. The dreamer is ically and naturally in the encounter.
then asked share the underlined horizons with the art ther- Step 1: Creation of an image of the dream. This
apist. The art therapist asks the dreamer to associate or acrylic painting on canvas depicts a scene from the dream
identify where the horizons are located in the artwork. (Figure 1).
With the artwork placed between them, the art thera- Step 2: Creation of a written record, or script, of the
pist then solicits and makes note of the dreamer’s associa- dream. In the dream, I am standing in a lonely place. At
tions to the horizons. When the dreamer has finished shar- first I am not aware of anything, but then I notice the pool
ing associations to the horizons, the art therapist repeats of water at my feet. It is a luminescent blue, shimmering as
them back to the dreamer as accurately as possible. It is though it has its own light source beneath the surface of the
important to note that the art therapist repeats the dream- water. The water is cold and clear. I am looking at the pool
er’s associations but refrains from making any interpretive when a snake slithers out onto the bank at my feet and,
comments throughout the process. right before my eyes, sheds its skin. I am captivated by this
The art therapist then asks the dreamer to group the event. Then I hear the sound of a horse’s hooves approach-
horizons together by theme and to create “statements of ing from out of the shadowy darkness to my left. The horse
existential concern.” These are sentences the dreamer cre- is a beautiful golden palomino. The horse is wearing a red
ates that integrate key elements of the horizon phrases. The bandana blindfold. When the horse is right beside me, he
dreamer then reads the existential statements of concern lowers his head and the blindfold falls away. I awake with a
aloud while speaking directly to the artwork. The art ther- wonderful feeling of excitement and renewal.
apist asks the dreamer to group the statements of existen- Step 3: The dream image is placed between the art
tial concern together, and then to create one sentence that therapist and the dreamer. The dreamer then reads the
is an existential summary statement. script of the dream aloud to the art therapist. As the dream-
In the final phase of the process, the art therapist assists er reads the script aloud, he or she often becomes aware of
the dreamer in developing statements of paradoxical intent poignant associations to the dream images and story.
and a course of action in response to the dream. In the last Step 4: The art therapist then reads the script aloud
step of the process, as a ritual ending to the encounter, the to the dreamer. The process of hearing the dream script
dreamer reads the action statement to the image. read again in another’s voice stimulates additional associa-
 MOON 131

tions on the part of the dreamer to the content of the cannot see. There have been many times in my life
dream images. when my sense of my own power and masculinity
Step 5: Identifying the horizons of the dream. The seem to have gotten in my way or blinded me.
art therapist asks the dreamer to identify key elements of Associations to horizon 7. Lowers his head and the blind-
the visual image and important phrases, underlining the fold falls away: The lowering of the head suggests a
“horizons” of the dream script. In my dream, these were: bowing motion or a self-humbling action; it evokes
(a) standing in a lonely place, (b) the water is cold and surrendering or accepting the blindness. In the instant
clear, (c) a snake slithers out, (d) right before my eyes it of surrender the blinders fall away and I can see.
sheds its skin, (e) shadowy darkness to my left, (f ) the horse Whenever I am in conflict, with someone else or with
is wearing a red bandana blindfold, (g) lowers his head and myself, the hardest thing is always getting myself to let
the blindfold falls away, and (h) a wonderful feeling of go of my own stubborn willfulness. It seems that the
excitement and renewal. moment I give up trying to win an argument, just then
Step 6: Amplification of the horizons. With the I am freed to a more meaningful encounter—I can see.
image positioned between them, the art therapist solicits
Associations to horizon 8. A wonderful feeling of excite-
and makes note of the dreamer’s free associations or ampli-
ment and renewal: The transformative phenomena of
fications on the horizons. After the dreamer shares associa-
acceptance and surrender always lead me to a feeling
tions, the art therapist then repeats these associations back
that is almost euphoric. In my most important rela-
to the dreamer as faithfully as possible, serving as a reflec-
tionships these moments lead to a sense of deepened
tive witness recording and repeating, as close to verbatim as
commitment and renewal.
possible, the comments of the dreamer.
Step 9: Repeating of the associations. The art thera-
Associations to horizon 1. Standing in a lonely place:
pist reads aloud the notes he or she has recorded regarding
When I had this dream I was struggling with very dif-
the dreamer’s associations to the horizons and identifies the
ficult feelings of loss and alienation that I had difficul-
location of the horizons in the visual image. The art thera-
ty letting anyone know about. I have often had trou-
pist asks for any clarifications or expansions regarding the
ble letting others know when I am feeling vulnerable
associations that may have been stimulated in the dreamer.
or when I am struggling.
The intent of this phase is to again provide an opportuni-
Associations to horizon 2. The water is cold and clear: ty to hear, in another’s voice, comments and associations
Water for me is a symbol of life, purity, cleansing, and made to the visual and verbal horizons.
sacredness. This must be a sacred place. Step 10: Clustering the horizons. In this phase of the
Associations to horizon 3. A snake slithers out: I used to process, the art therapist asks the dreamer if it is possible to
be afraid of snakes, unrealistically afraid. My wife has see connections among the horizons and to group, or clus-
helped me to see the beauty of snakes and to not be so ter, the horizons accordingly. In the dream of the Blindfold
frightened of them. She has taught me that it is all and Old Skin, the following clusters emerged:
right to take emotional risks, to be vulnerable and cluster 1. standing in a lonely place / shadowy darkness
open. I still can be fearful sometimes but not like I to my left
once was.
cluster 2. a snake slithers out / sheds its skin / the horse
Associations to horizon 4. Right before my eyes it sheds its is wearing a red bandana blindfold
skin: I am surprised that the snake transforms, sheds
cluster 3. the water is cold and clear / lowers his head
its old skin, as I watch. It seems like something snakes
and the blinders fall away / a wonderful feeling of
would do in private, not something other people
excitement and renewal
watch. This reminds me of how I used to get so angry
at my wife when she would tell me that she had Step 11: Creation of existential statements of con-
shared something about our relationship with her cern. In this step of the process the art therapist asks the
friends —some conflict, or something that I thought dreamer to create a sentence that summarizes each of the
should be private. It always surprised me that she horizon clusters as existential statements of concern:
would be so open, so exposed, with her friends. The 1. When I use power in evil and negative ways I often
snake’s shedding/transforming also makes me think of am left feeling lonely, weak, and isolated.
the changes I have brought on in my life. For some 2. I am strongest when I allow myself to be vulnerable
reason there is also something mysterious about to others and weakest when I am blinded by my
watching the snake leave its old skin behind. I feel pretensions of invulnerability and power.
honored to be there watching. 3. When I accept and share my vulnerability I experi-
Associations to horizon 5. Shadowy darkness to my left: ence feelings of excitement and renewal in my rela-
The shadowy darkness reminds me of the unknown, tionships.
or of the dark and the evil side of my life. Step 12: Summary of statements of existential con-
Associations to horizon 6. The horse is wearing a red ban- cern. In this step, the art therapist asks for possible connec-
dana blindfold: The palomino is a powerful, strong, tions among the statements of existential concern with the
very masculine animal but he is hindered because he goal of integrating them into one summary statement.
132 EXISTENTIAL ART THERAPY & DREAMS

Theoretically, this is an “essential message” from the dream

to the dreamer. In the case of the Blindfold and Old Skin
dream the following summary statement emerged:

Even though it is frightening to me, I am strongest and most

satisfied and excited in relationships when I accept and share
my weaknesses and vulnerabilities.

Step 13: Defining a course of action in response to

the dream. Now the art therapist helps the dreamer to cre-
ate a set of paradoxical intentions in response to the existen-
tial summary statement of the dream. The intent of this
process is to identify a course of action that the dreamer can
commit to taking in response to the dream message. This
most often falls somewhere in between the extreme poles of
the paradoxical intentions. The paradoxical intentions cre-
ated in response to the blindfold dream are as follows:
1. For the next 2 weeks I will take every opportunity to
share my fears and weaknesses with my colleagues at
work.
2. For the next 2 weeks I will avoid all situations that
could potentially lead to self revelation of my vul-
nerabilities.
3. During the next 2 weeks I will spend time with a
good friend, and with my wife, and share with them
some of the things that I feel insecure about.
Step 14: Committing to a course of action in re-
sponse to the dream. When the paradoxical intentions are
completed the art therapist asks the dreamer to make a
commitment to one of the course of action statements. As
a closing ritual the course of action is read directly to the Figure 2
dream image. In response to my dream, I made a commit-
ment to spend time with a good friend and with my wife
over a period of several weeks, and to share with them some ticular benefit to clients in brief focal therapy because they
of the things about which I feel insecure. leave the session committed to enacting a specific behav-
ioral plan of action. The process of engaging with dream
A Visual Image of the Process images makes it possible for art therapists to engage in
depth-oriented dream work with clients in both brief and
The process of existential art therapy dream work can
long-term therapy relationships.
be visualized as a combination funnel and sieve (Figure 2)
through which myriad images and phenomena of the orig-
inal dream content are poured. At each step of the process,
Summary
the client filters and distills the content of the dream until Working with dreams using the phenomenological-
a summary statement of existential concern is identified existential process serves to honor the dreamer’s creativity
and a behavioral course of action is defined. and inherent wisdom while the dreamer remains in control
The process of engaging with dream images in existen- of each step in the reductive process. At no point does the
tial art therapy as discussed in this article is in many ways art therapist offer any interpretation of either the artwork
a phenomenological process of reduction and yet it is also or the dream content. All of the messages that emerge from
one that honors the images and creativity of clients. the dream are the creation of the dreamer/client, as are all
Dreams are often quite complex, filled with many mysteri- interpretations and associations to the images of the dream.
ous and intriguing images, and attempting to understand The art therapist establishes the structure and serves strict-
them can be daunting for both therapists and clients. ly as a guide, recorder, and witness to the process.
Perhaps this is why working therapeutically with dream The art therapy dream engagement process described
content has been done primarily in the context of long- in this article may seem rather neat and tidy. But it has
term therapy relationships. However, the process outlined been my experience, from having working in this way with
here can be utilized even in the very brief therapeutic clients and art therapy students, that the process of reduc-
encounters prevalent in today’s short-term treatment envi- ing dream images to their essences invariably leads dream-
ronments. Working with dreams in this way can be of par- ers to a focused and more meaningful understanding of
 MOON 133

dreams that were otherwise chaotic and confusing. The art McNiff, S. (1992). Art as medicine. Boston: Shambhala.
therapy structure outlined in this article typically results in
a straightforward course of action that provides clarity and Moon, B. (1995). Existential art therapy: The canvas mirror.
relief amidst confusion. Springfield, IL: Charles C Thomas.

Moustakas, C. (1994). Existential psychotherapy and the interpre-

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