Art Therapy

Journal of the American Art Therapy Association

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Positive Art Therapy: Linking Positive Psychology

to Art Therapy Theory, Practice, and Research

Rebecca A. Wilkinson & Gioia Chilton

To cite this article: Rebecca A. Wilkinson & Gioia Chilton (2013) Positive Art Therapy: Linking
Positive Psychology to Art Therapy Theory, Practice, and Research, Art Therapy, 30:1, 4-11, DOI:
10.1080/07421656.2013.757513

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 Art Therapy: Journal of the American Art Therapy Association, 30(1) pp. 4–11 
C AATA, Inc. 2013

articles
Positive Art Therapy: Linking Positive Psychology to Art
Therapy Theory, Practice, and Research

Rebecca A. Wilkinson, Washington, DC, and Gioia Chilton, Alexandria, VA

Abstract Positive Psychology

As a growing movement in the larger field of mental health, Positive psychology is the study of positive emotions,
positive psychology has much to offer the art therapy profession, positive character, and the positive institutions and commu-
which in turn is uniquely poised to contribute to the study of nities that promote their development (Duckworth, Steen,
optimal functioning. This article discusses the relationship of & Seligman, 2005). Positive psychology derives from many
positive psychology to art therapy and its capacity to mobilize philosophical, religious, and psychological sources of in-
client strengths, to induce experiences of flow and positive emo- quiry, but historically is most closely identified with hu-
tions, and to express life purpose and meaning as well as positive manist psychology, which holds the presumption that hu-
emotions. Suggested research and practical applications illumi- man beings are inherently good and motivated to reach their
nate the potential of positive art therapy to move individuals, full potential (Linley & Joseph, 2004). Classic theorists in-
groups, and communities beyond solely the relief of suffering to clude Rogers (1951), who discussed client-centered therapy;
Maslow (1970), who wrote on self-actualization and cre-
a state of flourishing.
ativity; Horney (1951/1999), who asserted that humans are
naturally prosocial; Frankl (1985) and his work on finding
In 2009 we proposed that the principles of positive psy- meaning in the face of adversity; and Jahoda (1958), who
chology could and should be incorporated into the field offered a seminal framework for understanding the compo-
of art therapy, and that art therapy has unique contribu- nents of mental health. Positive psychology is differentiated
tions to offer positive psychology. In that paper (Chilton & from humanism, however, by its greater emphasis on scien-
Wilkinson, 2009) we outlined a model of positive art ther- tific investigation and institutional support. As a growing
apy with three areas of focus—art therapy practice, research, movement in the larger field of mental health care, positive
and training—and introduced practical suggestions in those psychology has sought to provide a collective identity for re-
domains. The current article provides an expanded examina- searchers and practitioners who have an interest in human
tion of the unique capacity of art therapy to increase positive potential and fulfillment.
emotions, to induce engagement and flow, and to identify Positive psychologists assert that, although noble in its
and create meaning, as well as offering more in-depth appli- intent, the profession of psychology has tended to focus on
cations of positive art therapy. Our goal is to introduce the repairing weakness and alleviating suffering rather than ex-
reader to recent developments in positive psychology and art amining the conditions and processes that contribute to op-
therapy that further illustrate the complementary nature of timal functioning (Gable & Haidt, 2005). The study of
these two fields and their potential to contribute to optimal mental illness has successfully led to the identification, treat-
functioning. ment, and prevention of many disorders; however, the pre-
vailing assumptions of psychology derive from an outdated
disease model of human nature. Positive psychologists argue
that the disease model perpetuates a limited view of human
potential whereby “people are seen as flawed and fragile, ca-
sualties of cruel environments or bad genetics, and if not in
Editor’s Note: Rebecca A. Wilkinson, MA, ATR-BC, is an denial then at best in recovery” (Peterson, 2006, p. 5). In a
adjunct instructor at the George Washington University, Alexan- lecture on the subject, Seligman (2009) said that the inten-
dria, VA, and executive director of Creative Wellbeing Workshops,
tion is to correct this imbalance by focusing “as much on
LLC. Gioia Chilton, MA, ATR-BC, is a doctoral candidate in the
Creative Arts Therapies Program at Drexel University, Philadel- strength as on weakness and as much in building the best
phia, PA, and an adjunct instructor at the George Washington Uni- things in life as repairing the worst.”
versity. Correspondence concerning this article may be addressed Increased happiness does not necessarily result from an
to the second author at [email protected] absence or improvement of psychiatric symptoms. Seligman
4
 WILKINSON / CHILTON 5

(as cited in Duckworth et al., 2005) goes so far as to sug- state in which individuals and communities function with
gest that real psychopathology may be more the absence of high levels of emotional, psychological, and social well-being
strengths than the convergence of weakness. Seligman and (Keyes, 2007). Well-being has been operationalized in sev-
Csikszentmihalyi (2000) asserted that the disease model has eral different ways; examples include subjective well-being,
not moved psychology closer to the prevention of mental in which positive and negative affective states are subjec-
illness; identifying and building on human strengths does tively evaluated along with overall life satisfaction (Diener,
more to develop resilience against psychiatric problems and 1994), and psychological well-being, which includes positive
future stressors. Therapists might ask how a person’s “intact relations with others, autonomy, purpose in life, and per-
faculties, ambitions, positive life experiences, and strengths sonal growth (Ryff, 1989). Well-being is believed to be the
of character” buffer against disorder (Duckworth et al., source of “many desirable characteristics, resources, and suc-
2005, p. 631) and consider improved well-being as a treat- cesses correlated with happiness” (Lyubomirsky, King, & Di-
ment imperative in and of itself (Linley & Joseph, 2004). ener, 2005, p. 803). People with greater well-being experi-
Even the most troubled individuals want more than simple ence more success in the areas of marriage, friendship, in-
relief of suffering; they want lives filled with joy, meaning, come, work performance, and health (Lyubomirsky et al.,
and purpose. 2005).
Positive psychologists have been criticized for opting for According to positive psychology, one of the major com-
a “Pollyanna” view of the world and for dismissing the im- ponents of well-being is “life meaning” or purpose (Peter-
portance of addressing pathology (Diener, 2009; Gable & son, 2006). Finding meaning is a human need through
Haidt, 2005). In response positive psychologists assert that which one may create stability and coherence in an ever-
their aim is not to undermine the gains made in psychology, changing life (Baumeister & Vohs, 2002; Remen, 2001).
which have nobly arisen from compassion and a desire to People find meaning by making connections and patterns
reduce suffering, but to expand the existing knowledge base from life events, by being deeply involved in communi-
with a more complete understanding of the human condi- ties and activities, and by belonging to and serving some-
tion (Gable & Haidt, 2005). They do not claim to have in- thing larger than themselves (Baumeister & Vohs, 2002;
vented notions of happiness and well-being or even to be Nakamura & Csikzentmihalyi, 2003; Seligman, 2011;
the first to scientifically explore the good life but rather they Thompson & Janigian, 1988). Meaning is significant not
have sought to provide an overarching conceptual structure only because of its influence in guiding one’s life but because
with which to examine them (Duckworth et al., 2005; Pe- of the effect that meaning making has on the way one per-
terson, 2006). In addition, they suggest that positive psy- ceives and deals with stressful events or trauma (Park, 2010).
chology approaches may actually mediate the experience of Researchers have studied meaning making in the creative
distress, lessen the damage of disease, and serve as protective act of writing and have discovered that journaling about
factors in psychological and physical health (Gable & Haidt, traumatic experiences helps people find resolution (Bauer,
2005). McAdams, & Pals, 2008; King, 2001; Park, 2010; Park &
Blumberg, 2002; Pennebaker, 1993).
Positive psychology is providing a new lens for under-
Positive Art Therapy in Practice, standing trauma and the resulting symptoms associated with
Research, and Training trauma. Although many people who undergo trauma ex-
perience posttraumatic stress, it is not uncommon to also
In an earlier article we proposed the term positive art experience posttraumatic growth—positive change that oc-
therapy to identify the intersection of positive psychology curs as a result of struggle with a highly challenging life
and art therapy (Chilton & Wilkinson, 2009). Our goal crisis (Tedeschi & Calhoun, 2004). These changes are in-
then and now is to explore the potential that these fields tricately interwoven with the meaning-making process and
hold for each other, to call for research in this interdisci- may include an increased sense of meaning and purpose,
plinary area, and to bring awareness of the benefits of the more meaningful interpersonal relationships, changed pri-
creative process to a broader audience. Art therapy helps orities, and a greater sense of personal strengths. People of-
people experience increased well-being through a number ten identify a particular trauma as a turning point in their
of creative pathways that uniquely illuminate purpose and lives. Moreover, people who achieve the greatest benefits
meaning and increase positive emotions and engagement. from traumatic events “transform their perceptions of cir-
In the following sections we address how specific elements cumstance from being unfortunate to fortunate” (Baumeis-
of positive psychology can inform and be informed by art ter & Vohs, 2002, p. 614), what Linley and Joseph (2004)
therapy. referred to as “benefit finding.”
Although art therapists have long championed the heal-
Happiness and Well-Being ing power of the creative process through its capacity to sym-
bolically express and communicate meaning (e.g., Case &
Although happiness is an implicit value and a funda- Dalley, 1992; Kramer, 1958; Landgarten, 1981; Naumburg,
mental pursuit for many people, it is too broad and in- 1966; Rubin, 1999; Wadeson, 1980), the art therapy field
tangible to measure. In its place researchers now center on has not fully addressed the importance of benefit finding
the concepts of flourishing and well-being, which can be and posttraumatic growth in the meaning-making process.
explored scientifically. Human flourishing is defined as a This is not to suggest a “whitewashing” of suffering; rather,
6 POSITIVE ART THERAPY

benefit finding should be encouraged at appropriate times

and commensurate with the abilities and needs of the client.
Such cognitive–emotional shifts can take time and like all
processes in therapy should emerge organically. The point
is that the rich metaphoric content in much artwork not
only may uniquely illuminate meaning but also may pro-
mote benefit finding. Art therapists can capitalize on this
valuable and important process.
In their research with women with breast cancer
Collie, Bottorff, and Long (2006) discovered a link between
art therapy and meaning making and determined that such
a connection helped participants maintain a sense of pur-
pose and meaning despite their illnesses. As a clinical ex-
ample we co-led an art therapy workshop, titled “Creating
Altars to Honor Resilience,” for a group of cancer survivors
and caregivers on an anniversary of the U.S. 9/11 terrorist
attacks. Participants creatively responded to the prompt “re-
call a time in your life when you experienced difficult events
or circumstances. In the midst of your troubles, what gave
Figure 2 Altar to Strengths (Mixed Media, 6 x 8 x 5 )
you hope?” Group members assembled evocative found ob- (Color figure available online)
ject sculptures that illustrated what had helped them survive
and even thrive in the face of adversities (Figures 1 and 2).
One participant joyfully spoke of her newly found creativity
as one of the many “gifts of cancer,” which clearly suggested
the involvement of benefit finding. Flow

Flow, a concept developed by Csikszentmihalyi (1991),

describes a state of optimal engagement characterized by the
experience of timelessness, loss of self-consciousness, and
complete absorption in the task at hand. Obstacles are chal-
lenging but surmountable because there is a skill/challenge
balance—psychological and physical resources are harnessed
to achieve success and mastery (Csikszentmihalyi, 1991,
1996). Hallowell (2002) found that repeated experiences of
mastery “build an attitude of optimism” (p. 138). Seligman
(1995) suggested that flow and mastering challenges have
the side effect of increasing positive emotions that help build
resilience and emotional capital for the future.
Art therapy pioneer Kramer (1958) proposed that the
making of art is central to art therapy. Many art therapists
have observed how art making in art therapy can promote a
state of flow (e.g., Chilton & Wilkinson, 2009; Lee, 2009;
Malchiodi, 2006; Voytilla, 2006), which in turn produces
psychological growth (Kaplan, 2000). With greater under-
standing of how psychological, neurological, and biologi-
cal aspects of the flow experience function in the art ther-
apy process, a flow-informed theory of art therapy can be
conceptualized (Chilton, in press). Some of the variables
that have potential to promote flow in art therapy include
the timing of interventions, the use of environmental ele-
ments such as music and lighting, and tasks that create a
balance between skill and challenge. Flow also may be ex-
perienced throughout the art therapy process; for example,
post–art-making discussions between clients and therapists
(which we would identify as meaning making) can take on
elements of flow, as do communal moments in the studio
Figure 1 What Gives Me Hope (Mixed Media, 10 x 18 when time feels suspended and collective magic seems to
x 3 ) (Color figure available online) happen.
 WILKINSON / CHILTON 7

Strengths also determined that positive emotions have an “undoing ef-

fect” in that they lessen the long-term impact of negative
Positive psychologists suggest that flow is also enhanced experiences and, by building resources that promote more
when people are able to engage their highest talents (Selig- positivity, create an upward spiral toward greater well-being.
man, Rashid, & Parks, 2006) or “signature strengths” (Peter- Thus, positive psychologists do not advocate the extinction
son & Seligman, 2004). Art therapy often has been associ- of negative emotions—emotions they recognize as critical
ated with identifying and capitalizing on client strengths. Art to human survival—but nevertheless observe that optimal
therapy assessment would be greatly enhanced were art ther- mental health is associated with high ratios of positive to
apists to develop or modify art therapy instruments to corre- negative affect (Fredrickson & Losada, 2005).
spond to existing psychological tests of strengths (Chilton & Recent research strongly suggests that art making can
Wilkinson, 2009). In so doing clearer criteria would be es- induce and increase positive experiences and emotions. Sev-
tablished for framing strengths that may uniquely emerge in eral quantitative studies indicated that art making improved
the art therapy process, such as creativity, spirituality, and mood among adults and college students (Bell & Robbins,
capacity for attachment. Betts (2011) also proposed that 2007; De Petrillo & Winner, 2005; Drake, Coleman, &
positive psychology is a rich area for modernizing art ther- Winner, 2011; Drake & Winner, 2012). When art making
apy assessment by identifying resilience and positive social is combined with a positive focus (e.g., a directive that in-
supports. In support of this idea Lopez and Snyder (2003) structs the artist to attend to something positive) there is
have written a useful handbook on positive psychology as- a beneficial impact on mood and repair of the after-effects
sessment that describes a more balanced and strengths-based of negative emotions. In research that compared the effects
approach to assessment. of assigning art making with a positive versus negative fo-
In the education and training of art therapists a focus cus Curl (2008) found that those who were instructed to
on the strengths and positive motivations that bring us to create artwork in response to a positive event experienced a
this work would advance a positive art therapy approach. greater reduction in stress than those who were asked to fo-
Farber, Manevich, Metzger, and Saypol (2005) challenged cus on an experience that had been stressful to them. Dale-
the presumption that helping professionals enter their pro- broux, Goldstein, and Winner (2008) compared art mak-
fessions because of their own unmet needs for attention ing with a positive focus to “venting art making” (i.e., art
and intimacy. These authors suggested instead that other, that depicts how the person felt in response to a negative
more positive motivations and influences may be operat- stimulus) and determined that art making in both condi-
ing, such as psychological-mindedness, search for greater tions induced mood repair. However, “creating a work ex-
self-understanding and curiosity, and the need to under- pressing more positive emotions than one actually feels is
stand and help others in a way that is personally satis- a more effective coping strategy” (Dalebroux et al., 2008,
fying (Farber et al., 2005). Art therapists may consider p. 294). Research also has demonstrated that people who
the unique strengths that brought them to the profession draw mandalas with the instruction to focus on love and
of art therapy. Riddle and riddle [sic] (2007) applied the joy may experience more positive affect than people who are
Values in Action Inventory of Strengths (e.g., Peterson & instructed to represent their thoughts and emotions at that
Seligman, 2004; Peterson & Park, 2009) in their survey moment (Henderson, 2012; Henderson, Rosen, Sotirova-
of male art therapists. They found that survey respon- Kohli, & Stephenson, 2009).
dents shared curiosity, interest in the world, and appre- This research, which admittedly studied the effects of
ciation of beauty and excellence; these strengths may be art making outside of a therapeutic relationship, still has sig-
common to other art therapists as well. In our own expe- nificant implications for the field of art therapy. Art thera-
rience, we have found that an appreciation of beauty and pists have long championed the expressive capacity of art
excellence is a signature strength identified by a majority of making and the value of self-expression; however, we now
the graduate art therapy students we have taught. have initial evidence that expression directed toward a pos-
itive focus may be particularly effective in repairing mood.
Positive Emotions We believe that art therapists should explore the use of posi-
tive art therapy directives and empirically research the nature
Positive psychologists have identified positive emo- and efficacy of such interventions (Chilton & Wilkinson,
tions such as joy, interest, contentment, hope, and love as 2009). Some directives we have employed include “keep a
central to flourishing and well-being (Fredrickson, 2004, visual gratitude journal,” “identify your signature strengths
2009; Seligman, 2011). Fredrickson (2004) identified the through artwork,” “create artwork about ‘you at your best,’”
“broaden and build” effect of positive emotions: Positive “make a mandala that illustrates the love and joy [in your
emotions function to broaden perceptions, which make us life],” and “savor a pleasant visual [memory]” through art
more accepting of and receptive to others and promote the making (Chilton & Wilkinson, 2009, p. 36).
discovery of novel and creative ideas and actions. In addition A clinical example may illustrate how a positive art ther-
to inspiring play, exploration, and social connections, pos- apy intervention was used in an inpatient psychiatric setting.
itive emotions build physical and psychological resources. Laura (pseudonym), a woman in her late twenties with a
As such they make people more resilient to emotional and history of childhood sexual abuse, was experiencing a de-
physiological setbacks and help them to bounce back more pressive episode. In an art therapy group session she de-
quickly when they experience hardship. Fredrickson (2004) picted her current struggle (Figure 3) and said that she felt
8 POSITIVE ART THERAPY

more hopeful. I validated Laura’s current struggle during our

verbal exchanges in this session; however, I also offered a di-
rective, identified from her associations to her first drawing,
designed to induce positive affect. I observed in Laura an
increase in the positive emotion of hope, which is critical
because a person’s level of hope is predictive of psycholog-
ical adjustment and general coping style (Snyder, Ritschel,
Rand, & Berg, 2006).

Conclusion
Just as positive psychologists did not invent positive
emotions, strengths, and well-being, we are not the first to
identify the power of art and creativity in promoting happi-
ness. Other art therapists have observed the value of integrat-
ing art therapy with positive psychology (see Collier, 2011;
Gerity, 2009; Hinz, 2011; Lambert & Ranger, 2009; Lee,
2009; Malchiodi, 2006; Puig, Lee, Goodwin, & Sherrard,
2006; Voytilla, 2006). In light of increasing scholarly inter-
Figure 3 The Struggle (Oil Pastel, 9 x 12 ) (Color figure est, we call on art therapists to focus not only on the relief
available online)
of suffering but on promoting positive emotions, capitaliz-
ing on the healing effects of flow, and spotlighting strengths.
Art therapists also can elevate the meaning-making capacity
encapsulated by a shell of pain (identified as the red color) of art by mining for positive meaning and purpose. Positive
and depression (identified as the black color in the image). psychology offers an affirming perspective on long-standing
Taking note of the yellow arrows bouncing off the impen- debates in the field of art therapy, such as whether to fo-
etrable black outline in the picture, she explained that “no cus on the art process as therapeutic in itself, to promote
good can get in or out.” After the group commiserated with free expression, or to direct the content of the artwork. We
her about the difficulty and pain that appeared evident in her also agree with positive psychologists and art therapists who
simple but evocative drawing, I (first author) asked Laura to suggest that as mental health practitioners we be less insular
create a new picture of what it would look like “if the good and expand research, assessment, and interventions to reach
got in.” Although Laura again made red and black marks in larger groups for positive social change (Allen, 2011; Biswas-
her response drawing (Figure 4), they are more fluid and less Diener, 2011; Kapitan, Litell, & Torres, 2011; Potash & Ho,
dense; as she said, “they let the good flow through.” In ad- 2011).
dition the figure is no longer alone. As she drew this second With respect to the paradigm shift toward positive psy-
picture, Laura’s affect changed: She became more animated chology, we call attention to the unique benefits of the art
and her peers observed that she looked brighter and sounded therapy process to generate mastery and flow; to improve
mood; and to inspire, create, and illuminate meaning. Be-
cause creativity is essential to thriving communities (Florida,
2002), the arts therapies may help manifest positive psy-
chology’s goal of greater global flourishing. We believe that
by forming partnerships between the positive psychology
and art therapy communities, innovative networking and re-
search can emerge that will increase our knowledge and un-
derstanding of creativity and its impact on well-being and
flourishing.
Can we use art therapy to boost positive emotions such
that we all feel more hope, inspiration and, most especially,
the love that Moon (2003) called “the driving force of art
therapy” (p. 147)? If so, then in this receptive state it may
become possible to “see larger forms of interconnection”
(Greater Good Science Center, 2011) within which to con-
tribute art therapy’s unique strengths to global well-being.
Capitalizing on such “signature strengths” as creativity, play-
fulness, appreciation of beauty, and other elements of posi-
tive art therapy might inspire transformation of our practices
Figure 4 If the Good Got In (Oil Pastel, 9 x 12 ) (Color and communities, not only to cope with stressors but also to
figure available online) attend to, appreciate, and attain the best in life.
 WILKINSON / CHILTON 9

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Art Therapy: Journal of the American Art Therapy Association

Call for Papers—Special Issue
The Neuroscience of Art/Therapy/Healing
Art Therapy: Journal of the American Art Therapy Association is seeking submissions for a special issue on the neuroscience
of how art therapy helps people heal from trauma and developmental catastrophe, whether through the creation of
new body/mind action patterns, sensory and affective experience, social relatedness or witness, resilience and survival,
transformation, or other centrally important therapeutic constructs.
Given the rapid expansion of knowledge on the effects of traumatic stress on the brain, we seek contributors who have
expertise in translating such knowledge into practical, clinical, and artistic theories and applications for art therapists.
Qualitative and empirically informed research and/or conceptual papers that clearly articulate the neuroscientific ground
of art/therapy/healing with effective practice are invited. Papers should demonstrate a sound conceptual or evidence
base that accurately draws from neuroscience literature. Attachment, early neglect, trauma, traumatic events, human
rights, and education are all suitable topics for research, as are emerging models of practice, populations, collaborations
and partnerships, etc.
This special issue will update peer-reviewed literature on neuroscience and trauma in art therapy, and offer cutting edge
insights into how people are turning to art to help restore and preserve their ground of being and relationships with
those on whom they depend for meaning, protection, affirmation, and connection.

The deadline for submissions is June 30, 2013.

For complete submission instructions and specific manuscript requirements, please visit the website at
www.tandfonline.com/UART and click on “Authors and Submissions.”