Libido-Morbido Theory

Freud postulated that there were two distinct forces that fueled all human behaviors. These are the polar drives of life, “libido,” and death, “morbido,” which were later labeled as the Eros (life) and Thanatos (death) instincts (Kerr, 2014). As a country, there is an overall obsession with technology. This fixation on creation may lead to the inevitable destruction of our species. (Leith, 2000). Furthermore, the problems of the world are not from the disease outside, but the disease within. Therefore, I propose embracing the libido-morbido conflict by working with bones in an art therapy climate. Indeed, I believe that this may result in the “sublimation” of the life and death tension.
In fact, the use of bones is not foreign to the field of art therapy. What is more, the use of bones as art is mentioned by one of the original art therapists, Edward Adamson (Moon, 2010). Also, mentioned in Catherine Moon’s (2010) book, Margaret Naumburg sought an archeological perspective later in her practice of art therapy (p. 116).

This directed my research to a discussion between two archeologists, Campbell, E., and Leiper, R. (2013). Indeed, these two men discussed the negative perception from society, upon those who work in the abstract and unusual world of the dead. However, it became clear that it is a normal human curiosity to search through the past. This exploration may be an attempt to fill the emptiness often felt from object loss or a way to deal with one’s mortality. A congruent theme rang out among this discussion and my other research. Specifically, man’s compulsion to replicate his past self-destructive patterns is a critical function of morbidinal energy inherent within all of humanity (Campbell, 2013).
In regards to man’s fatal behaviors, I came upon letters written between Freud and Einstein during WWII. The conflict revolved around the impending creation of the atomic bomb, and Einstein’s knowledge to construct such a weapon. The only resolutions Freud could offer were the abolishment of ignorance through cultural awareness (Leith, 2000).
Consequently, since all humans, and many other beings, have similar skeletal foundations, I decided to use bones as art in order to demonstrate the commonality among all vertebrate life-forms. This concept of living in unity with nature and all fellow beings is a principle belief of my spiritual practice. Moreover, I believe in order to create a harmonious and cohesive living environment, an understanding must occur within, before there can be an external connection.
Previously, I began by searching the Internet for resources related to bones in art. In particular, the influential work of Francois Robert rapidly surfaced. He created a series of artwork using human bones called “Stop The Violence” (Ajiboye, 2010). These pieces were evocative images that made a powerful anti-violence statement. Considering this, I was reminded of Haesler’s work with survivors of 9-11 (Moon, 2010). In truth, both sources reinforced my idea that using bones in art therapy could have a profound outcome.
Another inspirational source came from the Roman Catholic Parish’s (2013) website, where the history on the Church of All Saints’ Ossuary in Sedlec’s was found. Originally, the church had become a prime burial location, and after a mass breakout the cemetery housed around 40,000 graves. However, in 1421, an invading army desecrated the structures and graves. Later, a story indicates that a “half-blind monk restored the remains from the destroyed burial grounds, and arranged the bones into beautiful structures. The importance of the Ossuary to the people was not the fixation of death, so much as a representation that all people are equal in death (Roman Catholic Parish, 2013).
Full of inspiration, I searched for the material, bones.

Although, this was not as easy as anticipated. Although, websites had suggested local supermarkets, I only acquired a package of marrow bones. In anticipation of difficulties collecting bones, I had previously asked friends to save any scrap bones for the project. Luckily, this attempt was more successful, and I moved on to material preparation.
Boiling the bones in water and stripping them of residual tissue, put the bones through an alchemical process, both literally and metaphorically. Thus, it broke down the barrier of death, and then I began the transmutation of the bones into a new form of life, through art. While cleaning the bones, an awareness of similarity between the bones, in my body, and that of the chickens emerged. Moreover, “transference” occurred, as I contemplated how my bones kept my body’s form and structure, protected my vital organs, and enabled me to function, and

breath.
The onset of sublimation occurred once I decided to create pieces that relate to the elements of life (air, fire, water, earth, and spirit). In fact, this is part of my life as a Wiccan minister. Like the bones, the elements are the foundations of existence. What is more, the importance of representing all five elements was crucial to fully attain sublimation. Each piece was to represent my personal experience of the element, and how it relates to humanity. The majority of the pieces, except for the water piece, utilized the bones either as a whole, or burnt and crushed into ash. The water piece used rendered marrow mixed with herbs.
Indeed, with each piece of art I saw my unconscious unfold. A dream catcher, represented a filter for unwanted thoughts and ideas, this related to air. A drawing from ash, portrayed the struggle of industry versus nature, for fire. A painting of Gaia in a pond, represented mother nature, and the purity of water that is necessary for life. A sculpture depicted the four pillars/elements united, supporting the Earth and all life forms within. An animation with the bones, exhibited a synopsis of human life, emphasized how all beings are connected in spirit. The last piece, a replacement for the Gaia painting, used tape and ash to create the word “coexist” in negative space, completed the set.
As a result of working with bones possible problematic issues arose. In particular, the disadvantages of bones include fragility, smell, tactile discomfort (specifically in the cleaning process), inability to glue (without priming first), and a messy application when using ashes. Other concerns consist of spiritual or cultural superstitions, choking hazards for children, individuals with sensory issues. Conversely, the benefits to working with bones constitute affordability, ease of transportation, connection to the environment, opportunity to sublimate the Thanatos conflict. Incidentally, I agree that working with natural materials could bridge the gap between some clients, their internal psyche, and the external reality (Moon, 2010).
In order to work with bones in art, clients need good fine motor skills, because they are not a particularly forgiving material. The ages could be pre-adolescent to the elderly (depending on their developmental and motor skill level), but young adulthood may receive the most benefit. Further, in Erickson’s 7th stage of development, “young adulthood” (ages 40–65 years old), adults experience the crisis “Generativity vs. Stagnation” (Boyd, 2012, p. 27). It is crucial at this stage to find the connection with a legacy and face the impending reality of the Thanatos conflict. Therefore, engaging with the bones in a creative outlet may allow individuals to physically connect with their mortality. In addition, with the assistance of an art therapist, and an appropriate directive, the clients could sublimate their morbido-libido conflict. Moreso, an opportunity for solidarity among individuals may occur.
Ultimately, the bones became a conduit for me to transfer my Thanatos conflict through libidinal expressions, which allowed me to sublimate my issues of mortality. During this process the static and dead objects, bones, became full of life and movement, as art. Moreso, this project gave me an opportunity to reconnect with nature and mankind. Love and respect for the planet and humanity are key aspects of my spiritual path and life as an artist and professional.