There is anecdotal evidence that people who recover repressed memories of childhoodabuse are often artists, writers, or exhibited levels of creativity above the norm. Onesource states that We havebeen unable to find any formal study of this phenomenon. Perhaps the combination of high creativity and suggestive therapeutic techniques combineto make their recovery of memories more likely during therapy.
Richard Webster has traced the history of RMT to a group of therapist in the Boston, MAarea in the early 1980's. 3 Inspired by Judith Herman's 1981 book "Father-DaughterIncest", they formed support groups for incest survivors. 4 The book containedthe description of one woman who, during therapy, reconstructed her formerly repressedmemory of sexual abuse. At first, the groups were made up mostly of people who had alwaysremembered their childhood abuse. But slowly, the composition changed, as more patientsseeking recovered memories entered the sessions. "...women with no memories wouldoften begin to see images of sexual abuse involving father or other adults, and theseimages would then be construed as memories of 'flashbacks.' "
"THE DARKER SIDE OF PLAYLAND: CHILDHOOD IMAGERY FROM THE LOGAN COLLECTION' AT SFMOMA"
San Fracisco Museum of Modern Art
By Alicia Miller
Artweek (Celebrating 30 years)
In 'The Darker Side of Playland', the endearing cuteness of beloved toys and cartoon characters turns menacing and monstrous.
Much of the work has the quality of childhood nightmares. In those dreams, long before any adult understanding of the specific pains and evils that live holds, the familiar and comforting objects and images of a child's world are rent with something untoward.
For children, not understanding what really to be afraid of, these dreams portend some pain and disturbance lurking into the landscape.
Perhaps nothing in the exhibition exemplifies this better than Gottfried Helnwein's 'Mickey'.
His portrait of Disney's favotite mouse occupies an entire wall of the gallery; rendered from an oblique angle, his jaunty, ingenuous visage looks somehow sneaky and suspicious. His broad smile, encasing a row of gleaming teeth, seems more a snarl or leer.
This is Mickey as Mr. Hyde, his hidden other self now disturbingly revealed. Helnwein's Mickey is painted in shades of gray, as if pictured on an old black-and-white TV set. We are meant to be transported to the flickering edges of our own childhood memories in a time imaginably more blameless, crime-less and guiltless.
But Mickey's terrifying demeanor hints of things to come. . .
Another method by which memories are recovered is through participation in a mutualsupport, self-help group. These groups often include some individuals who have recoveredmemories and others who suspect that they have been abused during childhood and have notyet been able to recover any recollection of the events. Some investigators believe thatintense peer pressure on those who cannot remember causes them to begin to imagine imagesof abuse. These images later coalesce into what appear to be memories.