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Art Therapy Approaches for Identity Problems during Adolescence

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Art Therapy Approaches for Identity Problems

during Adolescence

Sherry L. Beaumont

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Problems during Adolescence, Canadian Art Therapy Association Journal, 25:1, 7-14, DOI:
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ARTICLE
Art Therapy Approaches for Identity Problems During Adolescence
Sherry L. Beaumont, PhD
This paper provides a review of art therapy approaches that can be used to promote identity formation in adolescents. It will be argued that individuals
suffering from problematic identity exploration will benefit from art therapy techniques that promote greater self-understanding. The article begins with
a brief review of theory and research on normal identity development during adolescence, as well as the identity problems of “crisis” and “diffusion.”
The rest of the paper focuses on a critical and integrative review of art therapy techniques that are geared towards self-exploration, with suggestions for
modifications for use with adolescents suffering from identity problems.
Introduction
During adolescence, individuals deal with the developmental
task of forming an identity, which includes their personal
beliefs, values, motivations, goals, and social roles (Marcia,
1980). Having a clear sense of identity is what gives a person
his or her style of individuality and feeling of inner sameness
and continuity over time (Erikson, 1968). Identity formation
involves the dynamic processes of reflecting on and exploring
the meaning of one’s life and one’s role in relationships and
society, the goal of which is increasing personal differentiation
and connection to others (Erikson, 1968). Achieving a sense
of identity is important for psychological functioning because
it provides a coherency to one’s personality that is necessary
The initial phase of identity exploration for basic psychosocial
functioning (Erikson, 1968), as well as for general problem-
solving and coping (Beaumont & Seaton, 2011) typically takes
place during early to middle adolescence, and it is normal
for adolescents to experience an ‘identity crisis’ during this
period (Erikson, 1968). An identity crisis involves an active
search for identity; the adolescent is exploring possible selves
and possible roles in his or her social world (Erikson, 1968).
Although this period involves active self-exploration, which is
a form of positive and effective social-cognitive processing, it
also involves low commitment to one’s identity (the adolescent
has not yet fully figured out who he/she is), which can result
in mood swings, anxiety, and problematic experimentation
(Marcia, 1980; Schwartz, 2001). It is believed that the identity
crisis is a normative developmental task on the way to
achieving a coherent sense of identity, which comes later in
adolescence or adulthood (Schwartz, 2001). However, some
adolescents can stay in an identity crisis for a very long time
and can experience serious emotional problems as a result
(e.g., anxiety; Marcia, 1980; Schwartz, 2001).
Another potential problem, one that is believed to be more
problematic than the identity crisis, is what Erikson (1968)
called ‘identity diffusion,’ which is when an individual does not
engage in a search for an identity. Identity diffused individuals
Editor’s Note
Sherry L. Beaumont is a psychology professor at the University of Northern British
Columbia where she teaches and conducts research in developmental and positive
psychology. She is also a student in the Post-Master’s/Ph.D. Certificate Program in
Clinical Art Therapy at the British Columbia School of Art Therapy. She is a published
researcher of articles on adolescent-parent communication and identity development.
Media reports of her research have been featured in Today’s Parent and Reader’s Digest
magazines.
Canadian Art Therapy Association Journal
tend to be low in self-reflection, low in self-esteem, and high
in neuroticism, and they tend to employ self-handicapping and
avoidant coping and decision-making strategies (Schwartz,
2001). Although identity diffusion is common in the early
phase of identity development, it is not considered healthy for
individuals to remain in a state of identity diffusion during later
adolescence or early adulthood (Marcia, 1980). Nevertheless,
research has shown that even by early adulthood or later,
many individuals remain in a state of identity diffusion, and
they suffer from psychological problems including anxiety,
depression, and substance abuse (Schwartz, 2001). The
critical issue for these individuals is a loss of life meaning and
spiritual well-being; in a very real way, they are suffering from
an existential crisis (Beaumont & Scammell, 2011).
Research evidence has revealed that what is critical for
developing a healthy, coherent, and meaningful sense of
identity is the use of social-cognitive processing that is
characterized by self-exploration, self-reflection, and a
balanced use of assimilation and accommodation processes
that creates integrated self-knowledge along with a high level
of commitment to one’s self-constructed identity (Schwartz,
2001). For example, Beaumont (2009, 2011) has found that this
self-reflective style of identity processing positively predicts
wisdom, self-actualization, self-transcendence, and the
presence of life meaning in emerging adults. Individuals who
are in a period of identity crisis possess some of these positive
qualities because they actively engage in self-exploration,
but because they are continually searching for their identity,
their sense of self lacks the balance or integration that comes
from high identity commitment (Schwartz, 2001). Similarly,
individuals who suffer from identity diffusion cannot enjoy the
benefits of an integrated, flexible sense of identity because they
lack self-reflectiveness and identity commitment (Schwartz,
2001). In fact, identity diffusion negatively predicts healthy
development, such as self-actualization (Beaumont, 2009).
Individuals who suffer from either of these problems, identity
crisis or identity diffusion, can benefit from therapeutic
techniques focused on propelling them towards healthy identity
formation and greater personal meaning. Research evidence
on effective identity formation can inform the therapeutic
approaches that should be used to assist with identity formation
problems. That is, it is likely that art therapy approaches
that focus on increasing self-exploration, self-reflection, and
Volume 25, Number 1, 2012 7
effective emotional coping will promote the development of
the integrated self-knowledge that is necessary for coherent
identity formation. Thus, the focus of this paper is to review the
art therapy approaches and techniques that may be beneficial
for identity development by increasing self-understanding.
Art Therapy for Identity Problems During Adolescence
Adolescence is a period that is particularly ripe for the benefits
of art therapy because adolescents are at their most creative,
and they are very concerned with developing and expressing
their individuality (Moon, 1998; Riley, 1999). Identity concerns
are a common problem that brings adolescents into art therapy,
and as clients, adolescents engage in art-making as a way to
express themselves and explore who they are (Moon, 1998;
Riley, 1999). As stated by Moon (1998), “making art is first and
foremost a natural way to experience self-exploration, self-
expression, and self-revelation” (p. 14). Similarly, Rubin (2010)
claims that for adolescents, “art therapy is a fine avenue for the
developmental task of identity formation” (p. 175).
The creative processes of art-making allow the artist-client
to express rejected aspects of self, to gain self-awareness
and self-acceptance, and to create and recreate identity
(Carpendale, 2009; Rubin, 2010). In addition, art therapy
provides a context for observing and synthesizing emotional
states (Rubin, 2010), which is extremely important for the
psychological integration necessary for having a strong
identity. Although she does not directly address the context
of art therapy for adolescents, Carpendale (2009) highlights
the importance of art-making for expressing symbolic
aspects of self. She claims that many artist-clients create
art that is a symbolic representation of their current state of
being, and through art therapy, the meaning of that symbolic
representation begins to change or transform, and so they
are able to see that their self-concept can also be changed
(Carpendale, 2009). Thus, it is likely that through art-making,
along with the reflective aspects of art therapy, the client will
be able to gain self-insight and the skills necessary to build a
flexible and adaptive self-identity.
General Art Therapy Approaches for Adolescent Identity
Problems
In terms of general theoretical approaches to art therapy,
expressive, existential, and narrative approaches are most
compatible with the goal of increasing self-exploration for
adolescents suffering from identity problems because, together,
these approaches focus on self-expression, meaning (symbolic
and life), and personal narrative, which are all important
processes involved in self-understanding. For example,
expressive art therapy involves the use of the arts to encourage
self and emotional awareness through expression and insight
(Malchiodi, 2003a). Proponents of the expressive approach
emphasize that art-making itself can be therapeutic if it involves
expressing unknown aspects of oneself that lead to greater self-
insight (Malchiodi, 2003a). Thus, the role of the therapist is to
create a therapeutic space that allows for full expression of the
client by providing the materials and activities that will promote
free artistic expression (Malchiodi, 2003a). or as an at-home adjunct to therapy (Malchiodi, 2003a).
8 Canadian Art Therapy Association Journal Volume 25, Number 1, 2012
Similar to the expressive approach, proponents of an existential
approach also highlight the importance of experiential learning;
however, this approach focuses on the universal experience of
existential issues such as the quest for life meaning (Malchiodi,
2003b). Practitioners who take an existential approach tend
to focus on the therapeutic exploration of self-identity, self-
awareness, personal goals and purpose, and the search for life
meaning (Malchiodi, 2003b), so this approach is particularly
relevant for therapy with adolescents suffering from identity
problems. As stated by Moon (1998), adolescents grapple with
creating personal meaning by questioning who they are, and
they express these concerns in their art.
Proponents of the narrative approach also focus on meaning-
making, but are more concerned with the role of symbolic
meaning in a client’s art. Narrative therapy involves techniques
that help clients to express their problems by telling or retelling
their “stories” (Riley & Malchiodi, 2003). This approach may
be particularly helpful for adolescent identity exploration
because, as stated by Riley and Malchiodi (2003), narrative
techniques allow clients to separate themselves from their
emotional problems and to build broadened mindsets by
retelling personal stories from different perspectives. Also
inherent in the narrative approach is the belief that people
express their personal narratives with symbols and metaphors
that hold particular personal meanings (Carpendale, 2009).
Similar to the processes involved in identity formation, “the
creative process of art making enables the individual to
discover, to reframe, to create new models and metaphors”
(Carpendale, 2009, p. 17).
Art Journaling for Adolescent Identity Problems
A combination of expressive, existential, and narrative
approaches are evident in the specific art therapy technique
of art journaling. Art or visual journaling is a mixed-media
method that combines free or guided artistic expression along
with reflective writing produced in a bound-journal format or
on loose pages. The benefit of an art journaling approach for
art therapy is the freedom that it offers in terms of materials
and artistic “space” and the combination of art-making and
reflective writing, which is important for self-exploration
(Ramsay & Sweet, 2009). In addition, art journaling provides a
practice for learning to observe oneself and others in an open
and objective way (Hieb, 2005), which would be important
for building self-acceptance and a flexible identity. Thus, art
journaling is a comprehensive approach for increasing self-
knowledge in adolescents.
According to Riley (1999), art journaling is an important
tool for exploration for adolescent clients because they are
naturally inclined to keep a diary or journal. Although there is
no psychological research evidence about the effectiveness of
combining visual and written journaling (Malchiodi, 2003a),
considerable research evidence has revealed the physical and
emotional healing that takes place as a result of engaging in
reflective emotional writing (e.g., Pennebaker, 1997). Perhaps
because of this fact, many art therapists combine image-
making with reflective writing either as an in-therapy technique
Although to the best of my knowledge there are no
comprehensive, structured art journaling programs that are
specifically designed for adolescents to address identity
problems, there are two published books that outline full
structured programs for adults to practice self-reflection and
build self-awareness using a combination of visual creativity
and written reflection: (1) Ramsay’s and Sweet’s (2009)
creative guide for self-reflection; and, (2) Ganim’s and Fox’s
(1999) program for building emotional self-awareness. These
programs employ a combination of expressive, existential, and
narrative approaches to art therapy because of the emphasis on
expressive processes (visual and written) and autobiography
while exploring ultimate concerns such as identity and personal
meaning. With some modifications, these approaches could
be effectively used with adolescents (individually or in a group
format) to address identity issues. Below is a brief summary of
the highlights of these two programs along with suggestions for
modifications for use with adolescents.
Ramsay’s and Sweet’s (2009) Self-Reflection Program
This program was designed by a licensed psychologist and
a professional photographer (both instructors at MIT) to be
offered to first- and second-year college students in a 13-week
program. The stated purpose of the book/program is “… to
help you become more in touch with your identity based on
a variety of influences such as family history and traditions,
race, ethnicity, and gender” (Ramsay & Sweet, 2009, p. 15-16).
The book is written as a guide for those interested in doing the
program (on their own), as well as for facilitators, and thus, it
includes a course syllabus, facilitation guide, list of materials,
timelines, exercises, and reflective questions to prompt written
and verbal exploration for individuals or groups. In addition
to providing valuable and proven therapeutic exercises (26 in
total), the added bonus to this program is that each chapter
begins with rich and thematic psycho-educational material
that is very effectively presented for individuals who are
beginning to explore their identities.
The structure of the program (if done in an in-person,
group format) is to have weekly reading assignments (from
the book), some homework assignments involving art/
photography and reflective writing, and in-session activities,
particularly discussion and reflection in a group-format. The
content of the program is to focus on self-exploration as a
means to build rich self-understanding that will lead to living
authentically (“… act in ways that are congruent with our
true selves;” Ramsay & Sweet, 2009, p. 18). Topics covered
include (in order of the chapter layout): (a) the value of
self-expression and self-exploration; (b) turning points and
key people; (c) gender roles; (d) race and ethnicity; (e) self
in historical context; (f) life meaning; (g) alternate views of
self; (h) self in the future; and finally, (i) mixed-media self-
portrayal. Although a review of all of the exercises presented
in the book is beyond the scope of this paper, below is a brief
summary for the goals that are most relevant for building an
open and flexible identity during adolescence.
The value of self-expression and self-exploration. In the
first two chapters, the authors explain the benefits of open,
Canadian Art Therapy Association Journal
objective self-exploration for building depth in one’s self-
understanding and building a fulfilling life (Ramsay & Sweet,
2009). They spend considerable time explaining the important
role of self-expression (visual and verbal) in self-discovery.
The first exercise, called Who Am I Today?, is geared towards
awareness of one’s current sense of self. The client/reader is
asked to describe him or herself in a paragraph, a sentence,
and a single word, and then is asked to draw a simple image
that represents that word. Clients are then asked to discuss
their self-images with another person in the group, so that
their reflections are explored through sharing.
Turning points and key people. This chapter explains the
value of experiences that change one’s view of oneself, one’s
future, or outlook on the world, as well as the important role of
influential people in one’s life in changing one’s perspectives.
One exercise is to create a large (20 x 24 inches) mixed-
media (drawing, painting, collage) visual autobiography.
Refection questions for journaling include: “Have there been
any specific events in your life that have changed the way you
view things?” and, “Did you view these events as negative
or positive at the time they happened?” (Ramsay & Sweet,
2009, p. 41). To highlight the potential for changing views of
one’s personal history, I would add, “Do you now view these
events as negative or positive?”
Life meaning. This chapter explains the importance of knowing
one’s purpose in life and finding personal meaning. As an
example, the authors discuss Victor Frankl’s (1959) influential
book, Man’s Search for Meaning, which details finding meaning
amidst trauma and suffering (which is also a key reference for
existential art therapists, such as Bruce Moon). One exercise
is geared towards exploring an aspect of one’s life that brings
meaning by using different expressive methods. The client
is asked to create a visual image (either by drawing or using
photography) of something that brings personal meaning and
then to write a poem about the image. If adolescent clients
are uncomfortable with writing and sharing poetry, writing a
prose description of why this thing is meaningful to them may
serve the same reflective purpose. Reflective questions include
discussing “which medium best expresses what you value” and
how one’s sense of personal meaning can change as we age.
Alternate views of self. This chapter is about exploring the
complexity of our self-concepts and the various ways that
we think about ourselves and present ourselves to others.
The authors briefly describe Jung’s concept of “shadow” by
referring to the fact that we all possess hidden, undervalued
aspects that can influence our behaviours and feelings. Three
exercises are included which focus on exploring the different
ways that we may see ourselves. For example, the goal of
one exercise is “to explore an aspect of who you are or would
like to be that you don’t typically show to others” (Ramsay &
Sweet, 2009, p. 139). The method is to create a mask (with a
mask form) using any media the client wishes that depicts a
“part of yourself you don’t often get in touch with, or would
like to play in the future” (Ramsay & Sweet, 2009, p. 139).
Reflective questions for journaling include: “What does this
mask say about you?” and, “What would others say about this
mask?” (Ramsay & Sweet, 2009, p. 139).
Volume 25, Number 1, 2012 9
Self in the future. The purpose of this chapter is to make
the client aware of the value of setting goals and being
motivated to pursue important life plans; it is essentially
about the importance of motivation and forward-thinking
as a key processing style for healthy functioning. Since
adolescents have difficulties with future-oriented thinking
due to adolescent egocentricism, this therapeutic goal would
be challenging, yet important for adolescents to attempt. The
authors’ suggested exercises could be accomplished at least
by middle adolescence. Clients are asked to choose a specific
real-life, upcoming scenario that involves him or her (one that
will occur in the coming week and for which the outcome is
uncertain), and then draw a comic strip depicting an imagined
outcome. The client is then instructed to look at their comic
strip later in the week, after the event has taken place, and
to journal about it by reflecting on questions such as: “Did
you correctly predict the outcome of your real-life scenario in
your comic strip?; and, “Was it helpful in managing the real
scenario to create [the comic strip] ahead of time?” (Ramsay
& Sweet, 2009, p. 146).
Ganim’s and Fox’s (1999) Emotional Self-Awareness Program
In contrast to Ramsay’s and Sweet’s (2009) approach,
this program is not directly about identity, per se. It is also
not specifically designed for adolescents; however, I believe
it offers valuable art journaling techniques for building
awareness and positive coping for one’s emotions. Since
adolescents suffering from an identity crisis or identity
diffusion typically are emotionally unstable (Schwartz, 2001),
the use of some of these techniques could help them to learn
to regulate their emotions.
The six-week program was designed by two practicing
expressive arts therapists to be offered in a group-format
with an art therapist, but is also offered in the book as a self-
help program for adults. The purpose of the program is to
teach clients how to use visual journaling as a means of self-
expression and building deep (unconscious; intuitive) self-
awareness (what the authors call “soul wisdom”). Like the
previous program, this approach also includes rich psycho-
educational material, but in this case, it is designed to help
the reader become acutely aware of emotionality, stress, and
coping. Although the content of the chapters is very rich with
insights about how to get in touch with emotions, some of the
language used is too complex, and some of the exercises may
be too anxiety-provoking, for adolescents. Nevertheless, the
primary strength of this program is the systematic process
that is described for practicing art journaling, as well as some
of the exercises geared towards emotional awareness and
resilient coping. These exercises may be most effective if
offered after the adolescent client has done some extensive
self-exploration work (as in the Ramsay and Sweet program),
but is still suffering from anxiety and emotional instability.
Alternatively, they could be used with young adults who are
still suffering from identity problems.
The four basic steps that the authors describe for practicing
art journaling are: (a) set a clear intention for what the artist-
client wants to explore (this helps to increase present-moment
10 Canadian Art Therapy Association Journal Volume 25, Number 1, 2012
awareness and reduce resistances); (b) “quiet the mind” by
becoming aware of one’s physical sensations (“body-centered
awareness”) in order to more easily get in touch with emotions;
(c) use guided visualization to get in touch with sensations/
emotions in a visual way; and, (d) draw one’s “inner images.”
Beyond these basic steps for art journaling, which are to be
used to prepare for each exercise presented in the program,
the authors cover the following topics with relevant exercises:
(a) accessing and expressing emotions; (b) accessing,
releasing and transforming stress-producing emotions; (c)
learning to dialogue with one’s art; (d) accessing and releasing
fear; (e) understanding and resolving inner conflicts; and, (f)
exploring one’s life purpose. All exercises include the same
art-making materials: a bound journal is used with the stated
intention and reflections written on the left hand pages and
the images (created with any materials the client wishes) on
the right hand pages. A brief summary and sample exercises
for some chapters follow.
Accessing and expressing emotions. This chapter is designed
to teach the reader/client how to access their feelings through
imagery. The first exercise is called “checking-in,” which
includes going through the basic steps for art journaling (as
described above) to get in touch with their current emotional
state. The check-in exercise includes self-exploration
questions to guide the client’s written reflections, for example:
“As you look at your check-in drawing, how does it make you
feel?” “What does this drawing tell you about how you feel
emotionally?” and, “Are these feelings related to a particular
issue or concern?” This process would be beneficial for
adolescents because over time they would essentially be
learning to be more mindful, a skill that could be generalized to
more thoughtful problem-solving. However, older adolescents
may benefit more from this process than younger adolescents
due to their increased abilities for self-insight.
Accessing, releasing and transforming stress-producing
emotions. In this chapter, the authors provide detailed
information about what stress is, how emotions are impacted
by stress, and the value of becoming aware of, and releasing, the
emotions one has when stressed. The initial exercises follow
the basic accessing emotions process described previously,
but are focused explicitly on accessing the sensations and
emotions around feeling stressed. Later exercises focus on
how to transform those stressful emotions by engaging in
positive reframing (“re-envisioning”). For example, the client
is asked to create a new image (of the previously drawn
feelings of stress) that “expresses how you would like to feel
when you experience the emotional reaction that triggered
your internal stress response” (Ganim & Fox, 1999, p. 61). The
self-exploration questions include: “What message do you
sense about what you need to do to deal with stress in a more
positive and soothing way?” (Ganim & Fox, 1999, p. 61). Since
identity problems cause significant stress for adolescents,
this exercise would be beneficial for adolescents to learn how
to cope with stress.
The chapters that follow this one gradually teach the client to
become aware of personal stumbling blocks, such as unrealistic
fears, how to gain self-acceptance by building hope, and
then finally, to build a sense of personal agency. Even using
some of these exercises may be beneficial for stabilizing the
identity-confused adolescent’s emotions and building personal
resources necessary for coping with identity concerns.
Other Art Therapy Techniques for Adolescent Identity
Problems
Although they are not part of a comprehensive program for
self-exploration, the following review provides an integrated list
and description of specific art therapy techniques that could be
used with adolescent clients suffering from identity problems.
They are grouped in terms of three main therapeutic goals: (a)
to explore gender and family roles; (b) to increase and integrate
self-knowledge; and, (c) to build a positive sense of self.
Art Therapy Techniques to Explore Gender and Family Roles
One aspect of the early stages of identity development involves
the adolescent increasing his or her sense of individuation
by exploring perceptions of gender roles and changing roles
within the family (Marcia, 1980). Thus, an important goal for
art therapy is to help the adolescent to begin this process
and to integrate these aspects of self-concept into an overall
personal identity. Several art therapy activities for exploring
gender and family roles can be found in published books/
articles. For the most part, techniques for this goal appear
to capitalize on the use of collage or mixed-media art which
allows for the flexible use of symbolic imagery that can be
altered to allow for individuality (e.g., by adding drawing with
the collage; Carpendale, 2009; Riley, 1999). These techniques
would probably be most beneficial early in the adolescent
client’s therapy because they are really about exploring
aspects of basic self-concept.
Riley (1999), Gender Roles Collage. Riley (1999) suggests
the use of collage as an effective technique for adolescents
to gain understanding of socially-defined gender roles.
Having adolescents create a collage depicting gender roles
from magazine images would allow for a reflective dialogue
about how they see themselves as a gendered person (or
not) and about the pressure they feel to live up to cultured
gender ideals. Riley (1999) advocates the use of collage to
have adolescent clients illustrate how they perceive the roles
of men and women, and she suggests that “the process of
moving into the collage with the client is the therapy” (p. 62).
Thomas (2011), The Metaphorical Family Tree. This technique
involves having the client choose a type of tree as a metaphor
for her/his family (e.g., “A weeping willow might depict a sad,
grieving, or depressed family”; Thomas, 2011, p. 31). Then the
client is asked to draw/paint, collage, or make a sculpture (e.g.,
using found objects) of the tree with each of the branches
depicting a particular member of the family by representing
qualities of that person metaphorically by visual qualities of
the tree branch (e.g., “If someone is quiet, shy, or ignored in
the family, they might be a branch that is hard to see”; Thomas,
2011, p. 31). Adolescents can get very creative with this activity;
for example, by creating separate trees within a “forest” for
complex family constellations (Thomas, 2011).
Canadian Art Therapy Association Journal
Carpendale (2009), The Sociogram. In this activity, the client
is asked to draw (or otherwise depict using found objects) a
symbol of herself or himself, and then to create and arrange
other symbols for family members. The qualities of the symbols
and the distance between symbols reveal important details
about how the client perceives himself or herself in relation to
other family members (Carpendale, 2009). This method can
be used to bring awareness to one’s attitude toward family
members and one’s perceived “place” in the family.
Art Therapy Techniques to Increase and Integrate Self-
Knowledge
Many suggested art therapy techniques focus on the goal of
increasing self-understanding. Depending on the point in the
therapy that these techniques are used and the openness of
the client, it may be possible to use reflective and interpretive
processes with these techniques to increase flexibility in
the adolescent’s identity such that it leads to greater self-
acceptance and personality integration. Since the goal of
these techniques is to explore and express different aspects
of oneself, it may be most appropriate to include them after
a trusting therapeutic relationship has been established and
when the therapist has gained enough knowledge of the
client to be sensitive to his/her defenses (cf. Riley, 1999). The
following is a brief listing of these techniques; the goal for all of
these techniques is to increase self-knowledge by becoming
aware of different aspects of oneself, most notably inner and
outer aspects of oneself.
Chilton (2007), Altered Books. This technique uses
published books as the substrate for making art that is an
expression of oneself. According to Chilton (2007), this
method is particularly inviting for adolescents who appreciate
the freedom of expression that is afforded. In addition, the
making of altered books provides the client with a contained
illustration of the transformative process in taking something
already formed and making it unique; the process of making
an altered book can bring revelation of the evolving nature of
the self (Chilton, 2007).
Carpendale (2009), Inside Outside Box. The goal of this
technique is to symbolically depict inner and outer aspects
of the self by having the client alter a box or other container
with images (drawn, painted, or collaged) that reflect how
they feel inside (on the inside of the box) and how they
present themselves to the world (on the outside of the box).
Carpendale (2009) suggests a narrative approach for the
reflective process of the art therapy (e.g., the client is asked
to explain his/her art-making process or story behind the art).
Darley and Heath (2008), Polarities. In this activity, the client
folds a piece of 12” x 18” paper so that there are doors that
open to an inner square page. On the outside ‘doors’, clients
are asked to draw a negative aspect of something, and on the
inside (with the “doors” open), they are asked to draw a positive
aspect of the same thing. Although the authors suggest this
activity as a way to look at “personal likes and dislikes or
impersonal opposites,” it could be modified to bring positive
awareness to personal qualities that a client currently dislikes.
Volume 25, Number 1, 2012 11
Used in this way, the client would draw/paint the disliked
personal quality on the doors, and then the inside page could
be used to draw/paint a positive aspect of that same quality.
This art-making experience, and the reflective dialogue that
follows, should increase self-acceptance by offering positive
reframing, plus it may even increase the likelihood of more
open, relativistic thinking, in general.
Darley and Heath (2008), Self-Symbol. In this activity, the
client is asked to “imagine a symbol that would represent
himself/herself” and then to draw the image (Darley &
Heath, 2008, p. 182). Although the authors do not highlight
the specific therapeutic benefit of this activity, it may serve
multiple purposes. For example, if used at the beginning of
therapy, it would provide the therapist with information about
how the client sees herself or himself, and in groups, it could
provide a method of getting to know each other. In both cases,
if reflective and interpretive dialogue occurs, it may also lead
to greater self-insight.
Darley and Heath (2008), Essence of Self. The instructions for
this activity are: “Using any art materials in any way you wish,
illustrate yourself. What is the irreducible element without
which you would cease to be the person you take yourself
to be?” (Darley & Heath, 2008, p. 135). The intent of this
exercise, then, is similar to the previous one: to reveal oneself.
However, what makes this activity unique is that it is about the
self-perceived essence of the client, which is asking the client
to reveal her/his true self. Answering a question about one’s
essence could be very emotional or anxiety-provoking for an
adolescent who is avoiding the identity search, but for those
who are actively exploring their identities, this could provide a
major turning point for self-understanding.
Woods and Dinino (2007), Self-Portrait Box with Self-Cards.
Although these authors are not art therapists, they describe
a technique that would be effective for use in art therapy to
help adolescent clients increase self-knowledge. The method
consists of making a self-portrait box that contains a series
of small cards (approximately 4” x 6”) that depict aspects of
oneself. The art-making can include any materials, although
collage would likely work most effectively for adolescents. The
box becomes a contained symbol for the self, with the card
images representing all of the complex aspects of oneself.
Art Therapy Techniques to Build a Positive Sense of Self
Some art therapy techniques are focused on building positive
resources such as a positive view of oneself. The following
is a brief listing of these techniques, which all appear to be
geared towards capitalizing on the healthy coping strategy
of positive reframing. Positive reframing has been found to
be a coping strategy that is uniquely used by individuals who
possess a high level of identity certainty and a self-reflective
identity style (Beaumont & Seaton, 2011). These approaches
include an aspect of self-exploration, but they are different
from the previous list because the intent is more about
recognizing personal strengths or providing inspirational
artistic experiences and products. Given that fact, it may be
most beneficial to introduce these techniques towards the
12 Canadian Art Therapy Association Journal Volume 25, Number 1, 2012
end of the client’s therapy sessions in order to build resources
that will allow the therapy to end smoothly and to promote
long-term positive self-regard.
Carpendale (2009), Self-Mask and Super Hero Mask Making.
As presented earlier in the Ramsay and Sweet (2009)
program, masks can be used to illustrate aspects of self (e.g.,
inner and outer), and in the case of this activity, to build self-
esteem. Carpendale (2009) describes two separate mask-
making activities. The first activity is to make a mask of one’s
own face in order to explore aspects of self-presentation.
Carpendale (2009) suggests using Plaster of Paris strips, or
if the client is uncomfortable with having plaster on the face,
then pre-made mask forms can be purchased. In both cases,
the expressive aspect of the exercise is to decorate the mask
in a way that reflects aspects of self by using paint, fabric, or
craft objects (e.g., beads and feathers).
The second mask-making activity begins with having the client
or client group brainstorm about the qualities of superheroes,
and then to make a mask to depict these qualities. The
reflective process involves having the client explore the
qualities that he/she has in common with these superhero
qualities by having him/her wear the mask and compare this
experience to the experience of wearing the self-mask.
Hartz and Thick (2005), Character Strengths Collage Project.
In this activity, clients are asked to create a collage to depict
their personal strengths with magazine images, with two
potential ways of framing the instructions for image selection.
If the therapist is following an art psychotherapy approach,
the instructions would focus on having the client first talk
about their character strengths and then to select images
to represent those strengths using a narrative composition.
If the therapist is following an art-as-therapy approach,
the instructions would be less structured in an attempt to
capitalize on the art-making process (Hartz & Thick, 2005). In
either case, the process and the product would be therapeutic
for adolescents with identity problems by focusing on their
personal strengths, thus building positive self-regard.
Darley and Heath (2008), Dreams and aspirations. This
activity begins with guided imagery during which the client
is asked to imagine his/her future dreams and aspirations,
and then the client is asked to freely draw/paint these images.
The important aspect of this activity is to have the client tap
into their future potentialities (Darley & Heath, 2008), which
in the case of adolescents, would provide a sense of hope by
showing them that their future is about possibilities.
Thomas (2011), Personal Totem. For this activity, the client
is asked to create art that depicts his/her personal totem
by choosing animal imagery to reflect personal strengths
or an animal that will act as a guide throughout the client’s
life. The totem itself can be made in whatever form the client
wishes (e.g., drawing, painting, or some other 3D method;
Thomas, 2011). Since Thomas (2011) advocates this technique
for helping clients with anxiety/mood problems to build
visualization/imagination skills, it might also be affective for
individuals suffering from identity diffusion or crisis because
they also suffer from neurotic tendencies (Schwartz, 2001).
Thomas (2011), Inspiration Deck. Thomas (2011) suggests
creating a deck of small cards with inspirational words or
images that the client can use when positive reinforcements
are needed. She suggests the use of themed card decks to
which the client can turn for specific types of encouragement.
One of her suggested themed decks, “the power deck,” might
be particularly helpful for adolescents who are dealing with
identity challenges. Clients are asked to: “Create a deck of
cards that encourage you to face your everyday life and its
challenges. These cards can contain mantras, affirmations,
or reminders about who you are or your personal strengths”
(Thomas, 2011, p. 66).
Thomas (2011), Mandala. Mandalas are circular pieces of art
that have been used for centuries for centering, healing, and
ritual purposes (Cornell, 2006). Thomas (2011) advocates
the use of mandalas in art therapy with adolescents because
it provides them with an art-making process and a product
that can bring calmness and clarity to those suffering anxiety/
mood related problems, which as stated earlier, can be quite
common in adolescents with identity problems. Thomas’ (2011)
instructions include the suggestion for focusing the mandala on
emotions, either positive or negative. These emotions might
then be transformed into a general sense of calmness in the
process of creating the mandala. Once created, the mandala
could then serve as a reminder of that calm state.
A possible modification to Thomas’ (2011) basic instructions
may be to add some of the content and exercises from
Cornell (2006) on creating mandalas for spiritual awareness.
However, these exercises may be more suitable for older
adolescents who have already done some identity work.
Another possibility may be to combine mandala-making with
the intent of Hartz’s and Thick’s (2005) character strengths
exercise by having adolescent clients visualize and then make
a mandala about their positive strengths.
Summary and Conclusion
As is evident by the material reviewed in this paper, many art
therapy techniques can be used to aid adolescents who are
suffering from identity problems. Techniques that focus on
self-exploration, such as those provided by Ramsay and Sweet
(2009) or those reviewed in the previous section, should
provide the adolescent client with greater self-knowledge and
self-acceptance. In addition, since adolescents who suffer
from identity problems tend to be emotionally unstable, they
should benefit from some of the art journaling processes
offered by Ganim and Fox (1999) to build emotional self-
awareness.
It is worth noting that resistances from the client will be a
potential challenge for art therapists working with identity-
challenged adolescents. Adolescent clients tend to engage
in resistances that range from noncompliance to anger to
over-compliance (Moon, 1998; Riley, 1999). As stated earlier,
adolescents who are experiencing an identity crisis are often
emotional, and so, they may express their initial resistance to
Canadian Art Therapy Association Journal
art therapy by showing some anger or hostility. In contrast,
adolescents suffering from identity diffusion may be inclined
to behave in an overly compliant way due to the tendency
to use the defense of identification (Erikson, 1968). The
greatest challenge to the therapist in this situation will be to
be able to distinguish between the adolescent’s transference
through identification (over-compliance) and true progress in
identity development. Moon (1998) offers some suggestions
for dealing with resistances, which should be helpful for art
therapists working with identity-challenged adolescents.
In short, he advocates for practicing keen observation,
understanding, and acceptance.
In conclusion, art therapists can use creative techniques focused
on self-exploration and self-awareness to help adolescents in
their quest to develop a coherent sense of identity.
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