Elizabeth Ahmann ✉ (Maryland University of Integrative Health and Springer Institute) Micah Saviet (Springer Institute) Marybeth Missenda (Maryland University of Integrative Health )
Art has long been used as a common creative outlet and a therapeutic modality. Recently, coaches have begun to explore art-making in the coaching engagement. This retrospective, phenomenological study explored the experience of using intuitive collage as a tool for health and wellness coaches (n=41), enrolled in an online advanced coaching skills class. Data analysis suggested a narrative, including: being boxed-in, unlocking, a gateway, and revealing the inner self. An interplay of coach and client growth processes was appreciated. Intuitive collage may be a vehicle for expanding the coaching repertoire and accessing client creativity, intuition, and awareness. Future research could inform best practices for its use.
art, coaching, self-awareness, creativity, phenomenology
Accepted for publication: 03 January 2025 Published online: 03 February 2025
© the Author(s) Published by Oxford Brookes University
Art-making (drawing, painting, collage, and the like) can have a beneficial effect on health and wellness (APA, 2023; Richards, 2007; Silvia et al., 2014). In fact, a poll reported by the American Psychological Association (2023) found that nearly half (46%) of Americans surveyed used some form of creative activity to relieve stress. Of these, some 24% reported the use of drawing, painting or sculpting, and 19%, crafting. Silvia et al. (2014) report research suggesting that the “everyday creative behavior [is both] a cause and an effect of positive psychological processes” (p. 183).
Reviewing seven studies on visual art, healing, and health care–including a randomized controlled trial, three quasi-experimental, and three qualitative studies–Stuckey and Nobel (2010) found an association between creating art and various aspects of improved well-being and positive emotions as well as reductions in distress and negative emotions (p. 257). Mundet-Bolos et al. (2017), in another systematic review, draw links between art-making and wellbeing in multiple realms. Other benefits of art-making include enhanced mindfulness, coping, self-regulation, and self-efficacy (Gelles, 2017, Jin & Ye, 2022; Kaimal & Ray, 2017; Rubin, 2019). Creative arts can also be a means of relaxation, processing experiences, and exploring options. Malchiodi (2015) suggests that creativity can actually be a “wellness practice” for anyone (para. 1). All of these outcomes are common desired outcomes in health and wellness coaching.
Since the early 1940s, the art therapy field has demonstrated the value of art-making as a treatment modality for numerous physical and mental conditions (Bitonte & De Santo, 2014), and Wilkinson and Chilton (2013) have linked use of art modalities specifically to positive psychology. Widely used texts review its processes and mechanisms in detail (e.g., Case et al., 2023; Malchiodi, 2011). Although only trained art therapists–or mental health professionals with additional credentials in creative therapies–should use art as a therapy tool for treatment of clients, other professionals, including coaches, can use art as a supportive tool for growth or as an expressive modality within their scope of practice (e.g., Forman et al., 2015; Lloyd & Papas, 1999; Rubin, 2019).
The National Board for Health and Wellness Coaching (NBHWC, 2017) defines Health and Wellness Coaching as: “… partner[ing] with clients seeking self-directed, lasting changes, aligned with their values, which promote health and wellness and, thereby, enhance well-being” (para 1). As indicated in many coaching competencies, the process of coaching is often considered a conversation (see ICF, 2019; NBHWC, 2022). However, the verbal aspects of conversation may not fully tap into all ways of knowing, types of awareness, or avenues of discovery that could benefit a client. For this reason, somatic approaches have entered the coaching realm (e.g., Field, 2005; Strozzi-Heckler, 2014). Other approaches may hold promise for deepening awareness as well, as demonstrated by recent exploration of experimentation with creative endeavors including music, poetry and art in coaching (e.g., Humphrey & Tomlinson, 2019; Wilcox & Nethercroft, 2024; Sheather, 2019a,b; Watts, 2022). In particular, the use of art as a coaching tool may be a way to bring spatial intelligence and visual processing into coaching. Viewing pieces of art, or various art card decks, can be introduced to spur new insight (Gentile, 2020; Nelson-Garrison, 2021a, 2021b; Points of You, n.d.). Art-making as a coaching modality has also recently received some attention.
In her book Collage as a Creative Coaching Tool, Watts (2022) notes that the International Coaching Federation (ICF) includes creativity as an essential part of its definition of coaching: “Partnering with clients in a thought-provoking and creative process …” (ICF, 2019; italics added). Klammer (n.d.) says that: "Creating quickly bypasses ordinary thought" (para 1). In this way, creating art can tap into deeper intuitive processes (intrapersonal learning) that may not be as easily accessed or identified through only verbal conversation or even viewing art. Additional processes tapped into may include the power of visual communication, making the unconscious conscious through symbolic images and visual metaphors, nurturing creativity, and even neuroplasticity (Sheather, 2019a; Watts, 2022). In fact, Watts (2022) identified seven discrete ways the coaching experience can be enriched through art-making (see Box 1). Thus, introducing art-making into the coaching process can introduce new ways of thinking and can be a way to invite deeper awareness.
Source: Watts (2022), p. 3
In a book on incorporating art into the coaching process, Sheather (2019b) suggests that coaches need not be artists themselves to introduce creative and expressive arts into coaching. One only needs to be curious and willing to explore with a client. A client also need not be an artist, only curious and willing to explore as well. Like anything in coaching, art can be introduced as a judgment-free exercise that may help stimulate insight and awareness and, as a result, support the behavior change process. Some examples of art processes that can be introduced in coaching include collage, meditative coloring, and drawing (see Box 2 for resources).
Greenhalgh, W. A. (2015). Mindfulness and the art of drawing - A creative path to awareness. Leaping Hare Press.
Klammer, S. (n.d.). Intuitive Collage–Step by Step https://intuitivecreativity.typepad.com/expressiveartinspirations/2018/12/intuitive-collage-step-by-step.html
Shannon, M. O. (2013). Crafting calm: Projects and practices for creativity and contemplation. Viva Editions.
Sheather, A. (2019). Coaching beyond words: Using art to deepen and enrich our conversations. Routledge.
Watts, A. (2022). Collage as a creative coaching tool: A comprehensive resource for coaches and psychologists. Taylor & Francis.
While a fair amount of research literature examines art therapy, and finds benefits for expression, insight, and awareness building, this literature also addresses treatment of various conditions, which is beyond the scope of coaching. Consequently, we focus here on literature specific to art-making and coaching.
In a book titled Coaching creativity - Transforming your practice, Gash (2017) argues, and offers experiential evidence, for the benefits of both coaching to foster creativity and using creative approaches in the coaching process to prompt new insight and growth. Two books have specifically explored art-making in the coaching engagement, one primarily focused on drawing (Sheater, 2019b) and the other on collage (Watts, 2022), Several books designed to support coaches in their own reflection also introduce art among other creative prompts (e.g. deHart, 2022; Lucas, 2023; Maisel, 2020), and a study has examined the use of creative mark-making (a form or art) and music in coaching supervision (McManus & Giraldez-Hayes, 2021). Despite this growing interest in incorporating creative approaches such as art-making into aspects of coaching, few studies have directly explored using art as a tool with clients in coaching.
In a peer-reviewed article, Hirsh (2014) described combining Gestalt approaches and art both personally and with one client, suggesting that art-making, in this case collage, can open up creativity in the coaching process. Ramos-Volz (2018) reported a proof-of-concept for a guided process of making a stained-glass piece to encourage “self-reflection and expression” with a small group at a coaching retreat. This approach promoted creativity and growth as well as movement through emotional barriers. van Coller-Peter & Olinger (2022) conducted a qualitative, phenomenological study exploring the views of 13 coaches on how art promotes reflection in the coaching experience. Art was described as fostering an increased willingness to engage creatively, new pathways of thought, as well as increased insight among clients. In another interesting study using an interpretative phenomenological analysis approach , Birnie (2019) introduced collage-making as a tool to gather data from first-time coaching clients to understand their roles as coachees. Collage-making was used as a pre-interview tool as a reflective exercise to explore their experiences, and not as part of the coaching itself. In summary, the research literature on art-making and coaching is limited and fairly recent, but suggestive of value in further exploring this creative approach.
Two factors inspired the current study. Because of the potential for art making to promote wellness, creativity, expression, growth and awareness, two approaches to art making - intuitive collage and meditative coloring - were included in the curriculum of an advanced coaching skills class for health and wellness coaches developed by one of this study’s authors (EA), at Maryland University of Integrative Health, a small integrative health university. Anecdotally, this author had noticed engaged and excited student comments on the constructivist-oriented module on art making. This led to curiosity to explore these coaches’ perceptions of art as a modality in coaching in more detail. The limited research on art making in the coaching engagement also prompted curiosity to explore this issue to contribute to knowledge generation.
Thus, this study grew out of one researcher’s (EA) experience introducing master’s level coaching students to expressive art as a coaching modality. A student assignment and online discussion related to using art in their coaching were used to explore the following research question: What are master’s level coaching students' perceptions of using intuitive collage as a tool in health and wellness coaching?
Art-making is introduced as a coaching modality in a required online class titled “Advanced Coaching Skills for Health and Wellness” in the M.A. program in Health and Wellness Coaching at Maryland University of Integrative Health. Students who take this class have already completed the practical skills assessment for ICF and/or NBHWC, and, in most cases, both. Hereinafter we will refer to them as coaches or participants. Offered twice a year since the Spring trimester of 2021, the course includes a 2-week module titled “Visual Arts in Coaching”.
The module on visual arts introduces coaches to intuitive collage as a potential tool to use for expression and exploration in the coaching process. Module components include the following:
Using a constructivist approach to learning, the course includes an assignment titled “Reflection on Intuitive Collage” and an online discussion titled “Intuitive Collage as a Coaching Tool”.
Descriptive phenomenology attempts to understand the essence of the lived experience of a phenomenon (e.g., the use of art as a coaching tool) from the perspectives of those who experience it (Eddles-Hirsch, 2015). To explore master’s level coaching students' perceptions of using intuitive collage as a tool for health and wellness coaching, we conducted a retrospective, phenomenological, qualitative review of student submissions in the course assignment and discussion related to intuitive collage (see Box 3).
Reflection on Intuitive Collage, assignment prompts:
Please share:
Intuitive Collage as a Coaching Tool, discussion board prompts:
Respond to your classmate's thoughts about using intuitive collage as a coaching tool using a reflection and powerful question, with the purpose of fostering further awareness related to the topic, perhaps helping them explore their own thoughts more deeply.
Sources:
Assignment: Ahmann, E. (2021, January 3). SUBMIT: Reflection on Intuitive Collage. In Module 5C of COA670: Advanced Coaching Skills for Health and Wellness. Maryland University of Integrative Health. Canvas Classroom. https://learn.muih.edu/
Discussion: Ahmann, E. (2021, January 3). DISCUSS: Intuitive Collage as a Coaching Tool. In Module 5C of COA670: Advanced Coaching Skills for Health and Wellness. Maryland University of Integrative Health. Canvas Classroom. https://learn.muih.edu/
The study was approved by the Maryland University of Integrative Health Institutional Review Board (05.AHM.IS17.07.23.03), and the University administration reviewed and approved study FERPA protections. Data for the qualitative study was drawn from the assignment and discussion identified above from the following trimesters: Spring 2021, Summer 2021, Spring 2022, Summer 2022, and Spring 2023.
One of the researchers (EA) was the instructor for the class from which the data was extracted for four of the five identified trimesters. To reduce bias, a separate researcher (MM) reached out via email to the fifty-five coaches from the five trimesters, inviting permission to use their work. MM then extracted de-identified data from the Instructure CanvasTM learning management system for those who provided informed consent. No exclusion criteria applied. Randomly generated participant numbers were assigned. The complete responses to each assignment and discussion post were extracted from the learning management system.
Participants’ collages (see prompt # 1 in Box 2 above) were not analyzed in this study. They are also not shared in this paper because most included use of magazines as sources of images, and sharing publicly could violate copyright. Additionally, a decision was made not to use data on the coaches’ personal experience using collage (prompts # 2 & 3 in Box 2) in the analysis because the nature of the responses to these prompts was highly personal and seemed not directly relevant to the research question. Discussion response posts were also not included in the analysis. To prepare the data for analysis, in the few instances that a student did not include the prompts in their response, the researchers coding the date (EA, MS) jointly determined the alignment of responses to each prompt.
Two researchers (EA, MS) analyzed the data (from prompts # 4 - 7 in Box 2), using thematic content analysis, a useful approach for under-researched areas (Braun & Clarke, 2006). The iterative and inductive process of identification and reporting on themes (from prompts # 4 - 7) followed recommended guidelines for qualitative research (Braun & Clarke, 2006; Nowell et al., 2017; Tong et al., 2007):
Taguette (version 1.4.1-40-gfea8597; Rampin & Rampin, 2021) was used to help manage the qualitative data during analysis. Measures taken to increase reliability and validity included: audit trails, data triangulation among two researchers/coders and the source material, and the researchers/coders challenging each other to think about underlying assumptions and biases (Nowell et al., 2017). Participant checking was not used in this study. Finally, the Consolidated Criteria for Reporting Qualitative Research (COREQ) checklist (Tong, Sainsbury & Craig, 2007) guided the report of this study.
Of the 55 students in the coaching course in the identified trimesters, 42 provided consent. Of these, 41 (74.5% of 55) had completed the assignment related to art, and the same number had completed the discussion. Participants are identified by their participant ID (P#) in the examples provided in this discussion of findings.
Rich metaphoric language used by a number of the coaches in this study hinted at a narrative, uncovered in the first reading of the data. Several keywords and phrases stood out in an initial review of the data:
The narrative we sensed in discussing the data took the form articulated by one participant “... presenting the idea of creating an intuitive collage to a client may prove hugely instrumental as a gateway back to themselves” (P17, italics added). This narrative idea was confirmed by other data, such as the intuitive collage process being described as a “window into my soul and my psyche” (P4). We sensed a process starting from 1) stuckness (boxed-in), through 2) the intuitive collage process serving as a key that unlocked 3) the gateway in order to reveal 4) awareness of the client’s inner self.
Regarding the revealing aspect of the process, we noticed that, in this data, coaches did not typically point to clients arriving at fully new awareness or new perspectives resulting from exploration with the collage, but, instead, generally referred to inner awareness being uncovered or revealed by the process. As examples:
At this point in the data analysis, we envisioned the narrative in a series of icons, or pictographs, as illustrated in Figure 1. In subsequent rounds of coding, we both interrogated and fleshed out this narrative.
Note: Images sourced from: “person in box”, standard license obtained from istockphoto.com; key and gate, free unattributed use from pixabay.com; and “inner self”, royalty-free license purchased from thenounproject.com.
As one step, we checked to be sure our sense of boxed-in was accurate, and several things became apparent, leading us to expand our codebook. First, we had an initial understanding of boxed-in or stuckness in a client in two ways: either being generally or specifically stuck, or having challenges expressing themself adequately through spoken language. Subsequent examination of the data revealed other situations coaches in which coaches thought intuitive collage might be useful. One was having a client who was creative or wanting to explore their creativity (e.g., P2, P5, P14, P15, P16, P34, P36), suggesting a way to get out of a box. Additionally, we saw that many coaches, themselves, appreciated the fun or freshness introducing intuitive collage added to the coaching process, suggesting that the coach had not realized they had been boxed-in to a more left-brain orientation to the coaching process. As one coach put it:
I am a visual learner myself and having the opportunity to be creative with my clients helped me to feel more confident in the coaching process. Being able to see how my clients responded to a task that was so open to interpretation, made me feel like I could use different approaches with my coaching skills (P38).
Another shared: “the collage brought in an element of fun that has been missing in my current practice” (P21). And a third: “This tool could also be used to break up the monotony of a standard coaching session” (P23). Thus, several circumstances illustrated in the data seemed to point to different types of “boxes” the client–or coach–had been stuck in.
We also realized that what we had initially thought might be keys to unlocking the doorway for a client fell into two distinct categories, needing separate codes. One was more client-oriented and one more coach-oriented. First, we saw keys to unlocking client awareness, as in keys or processes by which intuitive collage worked well as a tool for a client. Several such keys were demonstrated in the data.
A separate idea that we had initially coded as a key, we re-conceptualized as oiling the lock, or how coaches might optimize use of intuitive collage in their work with clients. This took the form of many logistical considerations: in particular who to use it with, how to use it, and when to use it.
In terms of who to use it with, coaches identified clients who were stuck in any way or had difficulty expressing themselves through language and clients with a creative bent (see above). One coach also mentioned “ visual or kinesthetic learners” (P15). A few coaches felt this approach would particularly benefit neurodivergent clients and those with a trauma history (P37, P44) or loss (P31), although a few also raised concerns about the process potentially being too triggering for those having experienced trauma and loss (P35, P44) and bringing up “past experiences”, perhaps veering too close to therapy (P9).
In terms of how to introduce intuitive collage into the coaching process, many coaches suggested offering the intuitive collage process as a “homework” inquiry (e.g., P3, P4, P6, P12, P13, P18, P30, P43) that would then be debriefed through powerful questions during a coaching session (e.g., P1, P12, P30), a process that could augment the value of the collage making experience, “amplify[ing] the meaning and lessons considerably” (P5). For example: “My coach asked me questions which I was not asking myself, forcing me to dig into the image with a different shovel, and therefore, revealing new gems of discovery” (P27).
Regarding when to introduce intuitive collage, a number of coaches suggested using it as part of the discovery process early in the coaching engagement (e.g., P2, P38). For example: it might be “valuable to use as part of a visioning exercise” (P30), and it “complements the wellness wheel and values activities” (P42). Some felt it might work better once trust had been established (e.g., P4, P27). Thought was given to how one might best instruct a client in the process of making an intuitive collage (e.g., P9, P10, P11, P13, P25). Concerns were also raised about the time and supplies required to make an intuitive collage, for example: it “takes time to create an intuitive collage, and that alone might diminish its efficacy in a coaching engagement” (P2).
Additionally, beyond logistics, we sensed in the data that coaches finding more fun, openness or ease in the coaching process (see further explication of this below) might be serving to oil the lock for the client. Rich examples in the data pointed to this idea. As one coach shared:
… using intuitive collage more easily allowed me to be comfortable with silence. The silence was there while my client looked at her collage and gathered her thoughts about what it might mean. I was allowing space for her to look over the images and really consider their implication. … In this way, the silence was an instrumental part of the process. Normally in my coaching, I am still focused on being comfortable with longer periods of silence. (P14)
Other coaches shared:
Through the coding process, gateways seemed to be characterized by two subthemes. One was revealing or opening an inside perspective, as described above. Examples included: “uncover … a window into my soul and psyche” (P4); “provoke an awareness to something the client may not have known to be there” (P38); and “make visual the depth of someone’s experiences and can help them make sense” (P44). The second aspect of a gateway was accessing knowledge in a different way. This included ideas such as “a different way of accessing and processing information … that starts outside of the cognitive processes” (P36). Also, using the right side of the brain (e.g., P7, P21, P22, P30, P35, P36): intuitive collage can be used “when the client wants to understand themselves … in a deeper way than their left brain might allow… [a] supportive portal to cross over from the left brain to the right” (P28).
We also noticed some data bridging the ideas of unlocking and gateways and created a bridging code for this. This seemed to be about creating connections. For example: “It creates mindfulness, connection with intuition, quiet/relaxation, a tangible visualization, and application of possibilities and values that may be uncovered.” (P11), and “This tool will create awareness for clients who may be at a loss for words or need to explore a deeper understanding of what they subconsciously are not aware of or recognizing” (P33).
We saw a bit of overlap in the data between what seemed to be the gateways that were opened and the inner self that was uncovered, but hoped that an additional round or two of coding might improve or collapse the distinctions. “Intuition,” in particular, was a frequently mentioned concept that seemed to fit both categories (e.g., P11, P12, P18, P31, P37, P41). As examples:
We wondered if accessing intuition might be a bridge from the gateway to the inner self and created a bridging code.
Through discussion, we also recognized that the coach’s process of unlocking or opening to the use of intuitive collage as a tool seemed to be a parallel process to the client’s experience of unlocking. So, we revisited the data to explore and code these distinctions more clearly, adding a code specifically for the coach’s journey of opened or enhanced awareness related to use of this tool, a code we subsequently broke into two subcodes: inspiration and unlocking excitement about a new coaching tool. Inspiration was evidenced in the tone of many comments as well as with the following language: “fun” (P16, P27, P36); “love the idea of it” (P16); “amazing!” (P7); “great” (P35); “positive” (P4); “wonderful” (P12, P16); “excited” (P27); “very powerful” (P31, P38) and “I found this experience to be really enlightening, and my curiosity was definitely piqued.” (P27). Related to unlocking excitement about a new coaching tool, coaches remarked, for example: “excellent tool” (P37); “mix things up” (P14); “different” (P26); and the following:
Based on the data, we also added a code bridging the coach’s journey to that of the client’s, related to the freshness of the tool. We found a few examples specific to this code. One coach shared: “This tool could also be used to break the monotony of a standard coaching session to drive out cobwebs and reveal something new” (P23). Another shared: I think this tool is a way to keep the freshness [in] coaching sessions (P18). These examples also relate to how the coach’s excitement about the tool helped oil the lock for clients (see above).
Importantly, the destination of the client’s journey seemed to be the inner self. Exploring data related to this theme revealed two sub-themes we characterized as a) inner knowing/awareness of self, and b) interconnected inner clarity and motivation for forward movement. Inner knowing of the self was described by many coaches as variations of the following. Intuitive collage:
Coaches described intuitive collage as also prompting interconnected inner clarity and motivation for forward movement in the client role as follows:
Through several rounds of coding, we identified the narrative in this data as including parallel journeys of coach and client, comprising a series of themes: boxed-in (coaches and clients), keys (with which to unlock something for clients or coaches), inspiration (for coaches), oiling the lock (done by the coach), and gateways (for the client) as well as intuition as a path for revealing or arriving at the inner self (clients).
In attempting to diagram the narrative, we became aware that the coach and the client journeys were not parallel, but, instead, the coach’s journey was prompted by, and integrated with, the coach’s own experience of having used intuitive collage in the client role as well as the coach role themself. The coaches’ experiences as clients using this tool brought inspiration to their role as coaches who could use it. The processes were not separable but more circular and interconnected. Our final picture of the narrative and its themes is shown in Figure 2.
Notes: This figure demonstrates the circular and interconnected relationship between the coach’s journey and the client's journey when using intuitive collage in this constructivist learning situation.
Images sourced as follows: “person in box”, standard license obtained from istockphoto.com; key and gate, free unattributed use from pixabay.com; “inner self” and oil can, royalty-free license purchased from thenounproject.com; “inspiration” (stars) from Canva
This retrospective, phenomenological, qualitative study explored the question: What are master’s level coaching students' perceptions of using intuitive collage as a tool in health and wellness coaching? The data, from master’s level student coaches (n=41) comprised assignments and discussion posts following a constructivist-oriented module on the use of intuitive collage in coaching. Key themes were illustrated by a narrative beginning with clients who were boxed-in in various ways, with intuitive collage being a key to unlocking a gateway to the inner self. Simultaneously, coaches in the study, having experienced the process themselves, also experienced an unlocking of fun in their experience of coaching that, combined with logistical considerations, oiled the lock to the gateway for the client (see Figure 2, above).
Coaching has long been considered largely a process of facilitating self-awareness, personal growth, and performance (Passmore & Lai, 2019; Passmore & Evans-Krimme, 2021; Whitmore, 1992). Based on interviews with a number of experts, Falato (2012) suggests that art-making in coaching can be a powerful tool that unleashes creativity, boosts learning, creates awareness, fosters clarity, and facilitates personal development. Positing that engaging the right brain, along with the left, provides greater potential for discovery and motivation, she suggests that art provides a new way of knowing that can help in overcoming obstacles and challenges, contributing to the coaching process. Her conception is consistent with the way coaches in this study conceived of intuitive collage: a key to unlocking a gateway to reveal the inner self, revealing both awareness and, in some cases, bringing clarity and boosting motivation.
Similar to the suggestions of Falato (2012), Ramos-Volz (2018), reporting on a project exploring the use of stained glass making as part of a coaching retreat, concluded that “arts-based coaching can provide the creative outlet individuals need to break down their emotional barriers and false pretenses, providing the room, time, and opportunity to grow.” (p. 157). In a qualitative study of thirteen coaches who make regular use of art as a tool in their coaching, van Coller-Peter and Olinger (2022) report that art-making leads to “better insight (aha-moments), a stronger focus on goals, willingness to use [client’s] creativity and changes in perception” (p. 1). They identified various reflective pathways by which art makes an impact: “multiple sensory stimuli, externalisation, unconscious connection, emotional engagement, silence and new neural pathways” (p. 7). These studies, including the links drawn to adult learning theories, support the findings of the current study in suggesting that art-making can be a valuable contribution enhancing the coaching process.
In the present study, coaches referred to intuitive collage as a different type of language that clients and coaches can engage. In fact, while not focused on coaching, the American Art Therapy Association (2017) speaks to this same experience of art-making:
Through integrative methods, art therapy engages the mind, body, and spirit in ways that are distinct from verbal articulation alone. Kinesthetic, sensory, perceptual, and symbolic opportunities invite alternative modes of receptive and expressive communication, which can circumvent the limitations of language. Visual and symbolic expression gives voice to experience, and empowers individual, communal, and societal transformation. (para 7)
Of note, consideration of forms of expression raises the question of cross-cultural and other identity considerations that might be important when introducing art with clients (Keselman & Awais, 2018; Talwar, 2010). Such issues were not articulated in this study. Additionally, two participants thought intuitive collage might be a useful form of expression for neurodivergent clients; use of art as a valuable form of expression in this population has been encouraged by Malchiodi (2023). While two participants thought this modality might benefit clients with a trauma history, one also thought this might be an important area of caution and another was concerned about surfacing past experiences that might be more of a therapy approach. Watts (2022) suggests that use of collage might wisely be avoided in coaching in circumstances including recent bereavement, a history of unresolved trauma, and serious mental illness (p. 129). In a systematic review regarding art therapy, Uttley et al. (2015) also noted that art making has a risk of activation of emotions. In such cases, coaches should follow their scope of practice and ethical guidelines and refer to other professionals as indicated (e.g., Hullinger & DiGirolamo, 2018; ICF, 2021; NBHWC, 2017, 2024).
It is also interesting to note the role uncovering intuition seemed to play in this study’s description of the intuitive collage process, revealing the inner self. Intuition is a particular way of knowing (Hardman, 2021). Exploring the development and application of intuition, Raami (2015) suggests that intuition can be “superior to conscious reasoning in some circumstances”, in particular in “visioning, creating, and problem solving” (p. 10). Yet, the development of intuition is often overlooked in educational and workplace settings, leading to lost potential. While a coach’s intuition is often mentioned in the professional literature, the development and harnessing of a client’s intuition and imagination should perhaps be given attention as well. Hardman (2021) suggests the importance of intentionally creating opportunities for the development of intuition. This study suggests that intuitive collage might be one tool promoting the development of intuition in the coaching engagement.
Other literature explores the use of creative modalities, such as poetry, for the development of insight, including the “revelation of self to self” (e.g., Canham & Satyamurthi, 2003, p.190). Poetry can be used in the coaching engagement to enable “creativity, awareness, emotions and empathy …. allow[ing] the client to search for meaning” (Humphrey &Tomlinson, 2020, p. 5) and can both prompt metacognition and “generate new perspectives” (p. 8); see also Ahmann et al. (2024). Coaching with music has also been recently explored, with suggestions that it can promote insight and motivation (Wilcox & Nethercroft, 2024). These explorations parallel the present study’s finding that use of art, such as intuitive collage, may be a way to access increased insight and awareness of self in the coaching engagement.
For coaches, fun and play stood out as transformative features of using intuitive collage, opening up the coaching process where they had not even realized it had been closed. Play is well-understood to be essential for children’s learning and development (e.g., Mader, 2022). Increasingly it is understood as important for adult flourishing as well (Lockwood & O’Connor, 2017). Research summarized by the National Institute for Play (2023) suggests that play “supports our mental health, improves our ability to relate to others, and increases our drive and hope for the future” (para 10). It also fosters creativity, promotes innovation and exploration, boosts engagement, reduces stress, and builds coping strategies (Lockwood and O’Connor, 2017). In fact, Lockwood and O’Connor (2017) argue for the importance of fostering play as a goal in the coaching relationship. Tschannen-Moran & Tschannen-Moran (2010) go further, suggesting that incorporating play directly into the coaching process can promote flexibility, new ideas and growth. In this study, introducing art-making as play seemed beneficial for both the coach and client roles. Play is consistent with the Broaden and Build Theory of positive emotion (Fredrickson, 1998) and can contribute to Growth Mindset (Dweck, 2006), both key coaching frameworks.
In considering the narrative revealed in the data, we are reminded of the “Hero’s Journey,” a metaphorical voyage of self-discovery. Reflecting on the Hero’s Journey as a metaphor for change in therapy, Williams (2019) notes that applying the Hero’s Journey conceptualization to a client facing life challenges facilitates the client’s owning their story of change, and supports the development of meaning and purpose while promoting coping skills and growth. Williams notes that the Hero’s Journey has been applied as a map guiding the change process in fields as varied as organizational psychology, social work, fitness, nursing, and personal development. While in this study, coaches did not directly discuss the Hero’s Journey, and the narrative described by the data is not marked by numerous trials and tribulations often part of that journey, the data demonstrates a process of exploration and growth that brings that journey to mind.
A strength of this study is its in-depth exploration of coaches’ perceptions of the use of art as a coaching tool. It may be both a limitation and a strength that the data was derived from coaches who had experimented with intuitive collage themselves and participated in both the coach and client roles during a peer lab. In this regard, the data reflects two ways of experiencing the process, adding richness and complexity. Still, data was not collected from actual clients. Future research might specifically explore client perspectives on this coaching modality.
The differing backgrounds of the researchers are a strength of this study. The analysis was conducted by EA, a female Registered Nurse, credentialed coach, with a doctorate in public health, and Professor of Health and Wellness Coaching, in her 60s; and MS, a male Licensed Clinical Social Worker in clinical practice and credentialed coach, in his 30s. MM, a female herbalist, pharmacist, and Assistant Professor as well as Program Director of Integrative Health Studies, in her 50s, asked key questions that helped clarify the narrative and contributed perspectives to the discussion.
To limit bias, a researcher (MM) who was not conducting the data analysis obtained informed consent and de-identified the data prior to analysis. However complete masking was not achieved because a number of participants reached out to let EA–their prior instructor in the course from which data was drawn–and told her they had completed the informed consent.
A limitation inherent in the study design is that, while qualitative results can be considered hypothesis generating, they are not considered generalizable. Furthermore, participants were all master’s level coaches in one small integrative health university, and many were fairly new to coaching. Coaches with a different training or orientation, or with more experience, might have different perspectives on the use of a tool such as intuitive collage. Future research will be needed to explore themes raised in this study more fully as well as explore client perceptions of this modality.
The art therapy literature provides ample evidence of the value of art as a medium for both exploration and the development of awareness, as well as evidence about the mechanisms by which art-making can provide benefit to individuals. Evidence also exists of the benefits of art-making and “everyday creativity” for health and well-being. As a form of play, art may have an additional range of benefits supporting flourishing, consistent with Fredrickson’s Broaden and Build Theory of positive emotion and Dweck’s Growth Mindset, both key coaching frameworks.
However, exploration of art-making as a tool in coaching is fairly recent. Only a few resources have explored this topic, and the current study is one of a small number to examine how art-making might be used in the coaching engagement. This qualitative analysis of coaches' experiences with the use of intuitive collage, in both coach and client roles, revealed a circular and interconnected relationship between the coach's journey of inspiration and the client's journey of accessing intuition as well as both greater awareness and motivation.
The use of art-making with coaching clients should receive further exploration to build an evidence base, especially to elucidate best practices and relevant logistics, such as for whom art-making might, or might not, be a useful part of the coaching; how to do it, including art modalities, ways to introduce them, and cross-cultural considerations; when in a coaching engagement might be optimal for introducing art-making; and considerations of scope of practice. Client perceptions of the process is another important avenue for further exploration. The enthusiasm demonstrated by the coaches in this study suggests that art might be incorporated into coaching curricula (see resources in Box 2) as a way of introducing fun, and expanding coaches’–and their clients’–access to creativity, intuition, and insight, as well as a means of promoting awareness and growth.
Dr. Ahmann (ScD, RN, PCC, NBC-HWC) is a coach in private practice, Curriculum Manager and Professor of Health and Wellness Coaching at Maryland University of Integrative Health, and Director of Research at Springer Institute.
Mr. Saviet (LCSW-C, NBC-HWC, CEAP, BCC) is a social worker in clinical practice, ADHD/well-being coach, and Director of Springer Institute for research.
Ms. Missenda (MS, RPh) is a registered pharmacist, herbalist, and Assistant Professor and Program Director of the Integrative Health Studies Department at the Maryland University of Integrative Health.
Source: Ahmann, E. (2021, January 3). READ: Intuitive Collage. In Module 5C of COA670: Advanced Coaching Skills for Health and Wellness. Maryland University of Integrative Health. Canvas Classroom.
Sources of images in sample collages: all free unattributed use from pixabay.com