ABSTRACT
Jennifer Scott examines Milner’s artistic insights in “The role of illusion in symbol formation” (1952) and “Psychoanalysis and art” (1956). She notes how Milner extends existing psychoanalytic formulations of art as substitution and reparation to include exploratory motivations towards the undiscovered. Scott situates Milner’s thinking within her artistic community namely Ben Nicholson and Cedric Morris, citing overlaps of experimental “free” drawing, unconsciously interchanged body parts, and mixing the “visitation of the gods” with everyday objects, potentially used to explore human relationships.
