In this contribution the work of Belgian artist Pierre Alechinsky is analysed from an interdisciplinary perspective. First, within the perspective of art history, the author traces the trajectory of the artist starting from his encounters with the Cobra movement, the Chinese artist Walasse Ting and the Japanese calligraphers, to the use of acrylic during the elaboration of a painted handwriting that characterises his work and that is partially determined by childhood experiences. Then, the author delves deeper into this work by elaborating a psychoanalytic hypothesis. Starting from the insistence of the signifier “graph” in the artistic trajectory and in the discourse of the artist, and using the method proposed by Freud in his essay on Leonardo da Vinci and the paradigm of dream interpretation, the hypothesis is formulated that, during the elaboration process of his own painted handwriting, the artist identifies himself with the desire of his mother, who had a passion for graphology. Moreover, it is argued that the left-handed “written” paintings take root in the unconscious of the left-handed Alechinsky.
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Addiction Aggression Applied psychoanalysis Architecture Art Body Case study Child analysis Collecting Death death drive desire ethics Fantasy Freud Gaze Identity Institution Institutional Psychotherapy interpretation Jacques Lacan Jouissance Lacan Language Literature Memory Narcissism Object a Oedipus Outsider Art Psychoanalysis Psychose Psychosis Real Repetition Repression Sade Signifier Subject Sublimation Transference Trauma Unconscious Violence Writing