Doctoral Thesis: “The Plastic Arts Expression of Louise Bourgeois. Feminist strategies for a therapeutic praxis.” It is a thesis written under the guidance of Prof. Carmen Senabre Llavata. V-2816-2007/978-84-370-6586-1. Published, electronically, by the University of Valencia.  (No images were published because of copyright)

           Researching in the field of feminist aesthetics has helped me to understand aspects of human psychology. Over time, diverse artistic approaches that can be analysed within gender and sex discourses, have developed through different cultures in separate parts of the world. When we try to understand a work of art: a sculpture, a tapestry, a drawing…, created either by a man or a woman, the analysis of this leads us to a territory beyond gender construction and immerses us into the depths of our conscience, essentially illuminating our fears and anxieties.

 Therefore, we should always consider the cultural relevancies surrounding the work and the artist. The response to interactions with others and the relationship with the surrounding environment can be symbolized in a work of art in various ways. For example, universal concepts such as communion with nature, the cycle of life or love within parental relationships are often expressed differently, depending on how each individual has been brought up.

           This thesis about Louise Bourgeois is developed within three areas of research: feminist aesthetics, art therapy and visual expression parting from her sculptures and drawings. In the first chapter: “Feminist Influence on Louise Bourgeois“, the historical context of her work is considered in line with postmodernism, from the feminist perspective on aesthetics and criticism. On the one hand, Bourgeois’ work is investigated from a semiotic, philosophic and aesthetic point of view. On the other hand, her sculpting work is related to spinning and sewing. This is thanks to the study of the pictorial representation and literary interpretation of sewing, along with the trade of spinning from a feminist aesthetics viewpoint. This involves revealing within her work similarities with the “Fiber Art” which links to ancient cultures. The presence of fashion in her installations and sculptures is studied reflecting on feminist issues.

           In the second chapter: “Intimate Reasons for Creation”, the healing aspect of Bourgeois’ work is introduced. She is in search of a cathartic treatment for the pain generated by her childhood and adolescent traumas. The analysis that several authors have completed on this therapeutic side of her work, shows us how the treason and abandonment that the artist suffered on the part of her own family, which leads to trauma that provokes the need for such a healing practice. This practice takes the form of partial representations of the body that condemn verbal or physical violence. Some of them symbolize her mother and adopt the form of animals which is an aspect we could unfold within theories of mythology and feminist aesthetics.

           The representation of androgyny, the auto analysis and the dream are the main issues analysed in the last chapter “Under a Surrealist View”. It is an analysis of the psychotherapeutic connotations of her work, compared with the works of surrealists such as Joan Miró, Salvador Dalí, Remedios Varo or Leonora Carrington, among others.

In relation to Japanese culture and language.