PsychBytes

A publication of the Washington Baltimore Center for Psychoanalysis

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Creativity

Rosa Aurora Chavez, MD, PhD
Member, The Washington Center for Psychoanalysis
June 2016 | Volume 3 | Issue 6

What do Van Gogh’s paintings, a can opener, the small pox vaccine, a smart phone, the salad you prepared recently and Beethoven’s 9th symphony have in common? Creativity is at the core, whether it is a breakthrough or an everyday leap. Creativity is the action of producing something new by adapting or transcending the existing. When we create we combine previously unrelated elements and we are able to hold opposites in mind at the same time and in the same space. This is sometimes called “thinking out of the box.” Sometimes ideas pop up suddenly and this feels joyful. Sometimes ideas remain latent in the back of our minds and we keep connecting our experiences, incubating, and one day, while we are taking a walk or during our shower, all becomes clear. When we create we feel alive, effective, productive, and useful and we can advance our work and enhance our lives and the lives of others. Creativity can be shared, eliciting new ideas in others exploding like fireworks or popcorn.

But there are moments when creativity seems dry and stagnant. There is a creative blockage. Contrary to common belief, anxiety, depression and other mental suffering, decrease our ability to create. Sometimes people are afraid to seek help because they fear that if they lose their demons they could lose their angels as well. However, receiving psychological treatment can actually restore creative ability. Psychoanalysis is by its nature a modality of treatment that organically targets the creative process. The person becomes able to know and explore desires and fantasies that were previously inaccessible. Creativity integrates dreamlike thinking with logical thinking and psychoanalysis enables us to work with both so that we become more able to love, work and create.

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On Leaving and Holding

One aspect of Joachim Trier’s 2026, Academy Award-nominated film, Sentimental Value, lingers: the idea that a house can hold memory, and in doing so, remind people of who they are and who they have been. The family home in the film becomes a kind of unconscious structure, a repository for grief, history, and the versions of themselves they could not keep.

I have never had that kind of house.

I have moved every two to four years for as long as I can remember. My life can be mapped through new cupboards and unfamiliar ceilings. I learned early how to fold myself into spaces never meant to hold me for long. Even now, some part of me is already preparing an exit.

WHY MAKE MIRROR ART IN WAR-TORN TEHRAN?

Why does Aref Montazeri, an Iranian sculptor whose art sells for over a million dollars, continue to make his towering works from shards of mirror glass in his studio in Tehran, amid window-shattering bomb blasts? He gently wraps his creations in shock-absorbing material, but why continue with such a fragile medium? In a Wall Street Journal article by Kelly Crow (May 2-3, 2026), he says, “Nothing, not even war, should prevent us from pursuing what we aim for.”

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