The importance of perceptual traces and projective rooms ”The french philosopher Gaston Bachelard has said: A complete cast solid picture paralyse the fantasy… A picture, giving a hint of and including non told elements in its storey, bring the viewer in a condition of tension, which convey the fantasy… This counts not only in pictural art. It counts in general and especially in the modern world, that our perceptions is build on real elements, which are integrated to a whole by our experience and fantasy… As the Danish psychologist Steen Visholm3 explains it, it is possible to summarize this with the concepts of perceptual traces and projective rooms. Maurice Merleau-Ponty here saw an important purpose with psychoanalysis, which on an intuitive basis, attempted to describe the exchange between the future and the past. By looking at the past, it became easier to understand the meaning of the future (a gigantic projective room), and by looking at the future it also became easier to understand the meaning of the past. The psychodynamic system theory4 used the term ”here and now” for this, corresponding to the fact, that face to face meetings in the present moment are vital for human collaboration, situations where the past, the future and the now moment can become linked and can generate our new perceptions, languages, meanings, beliefs and emotions. According to Merleau-Ponty, it was Cezannes intention, that he: ”wanted to depitch matter as it takes on form…Cézanne did not think he had to choose between feeling and thought, between order and chaos. He did not want to separate the stable things which we see and the shifting way in which they appear; he wanted to depict matter as it takes on form, the birth of order through spontaneous organization... He makes a basic distinction between the spontaneous organization of the things we perceive and the human organization of ideas and sciences. We see things; we agree about them; we are anchored in them; and it is with ‘nature’ as our base that we construct our sciences. Cézanne wanted to paint this primordial world” (Merleau-Ponty, 1964). Cézanne imagined a new form which was phenomenological: ”The landscape thinks itself in me…and I am its consciousness”. Cézannes wished for the picture to become nature and not simply a matter of depicted nature, and this is not only remarkable for Cézanne, it is also a key attribute for many of his followers e.g. the New York school abstract expressionists, the german abstract expressionists, and even influencing the Danish paintor: Per Kirkeby5. The ”mountain” I directed attention to in my latest oil painting series is the Copenhagen urbane landscape, rich on perceptual traces and projective rooms. Some of my urban landscape paintings reminds people of the towns behind the Iron Curtain bask before the fall of the Berlin wall - belonging to the tabu laden cold war environments of Eastern Europe. Others have traces from country towns. The past as a projective room, and the past as perceptual traces, emotional, subjective and at the same time intellectual and abstract. Maybe, the zonation painting really belong to "the spiritual abstract", the late modern compelling field of force, stretched between Georg Baselitz's perceptual traces reaching back to van Gogh, Munch and Nolde, and at the other side influenced by Anselm Kiefer's debt to german romantic and abstract expressionism. Cézannes development as painter evaluated from psychodynamic developmental theory Cézanne was born in Aix-en-Provence on 19 Januar 1839. He belonged to the impressionists, but broke with the group, after an exhibition in 1877. In a letter to Pissarro he apologized this break (and his doubt), by expressing that there was always too much turbulence connected with the neo-impressionist exhibition in Paris. But how can we understand Cézannes development? I guess that we need to examine John Bowlbys by use of the attachment theory, which has its origin in biology, to understand the developmental proces of the artist Cézanne (and his followers including me). Bowlby assigned dominating importance to the individuals need for motivation as a driver for personal development. The results of early attachment through internalised work models, formed according to Bowlby the basis for many later relations people can develop and grow with. Bowlbys conceptual model so to speak turned psychoanalysis "upside down”. Bowlby namely skipped Freuds principle of reduction of desire (or lust) as a main factor in motivation, and substituted this with the balance between stimulation and restfulness, and interaction between a search for new challenges and a search for security. Cézannes development as a mature painter, and for plenty of other artists, can here be seen as a balance between new challenges and this search for security (attachment), which can also be viewed as the balance between scientific exploration and spontaneous organisation. But both are equally important. Cézannes searched for security among the impressionists and his closest friends, and this helped him to break through as an impressionist. But later he experienced divergences and doubts, and by the help from a few really good friends e.g. Pissarro and others, and in search for personal acknowledgement, he finally decided to go by his own and to do his exploration of the mountian, the bathers and the portraits in isolation after the break with the neo-impressionists. Maybe Bowlby lacks a concept of "detachment", which could mark the sudden change process, and help us to understand Cézanne beter, but the authentic break of the late modern individual with his fellow "artists", is difficult to understand, because why does he/she select a totally innovative and new path, even though this path is so unpredictable and uncertaint. Another recent psychodynamic developmental psychologist also in line with Bowlby, Daniel Stern, emphasize the importance of shifting self-experiences as a major factor in motivation. Key motives according to Stern is the wish to experience connexion, continuity and meaning, in order to be the master in your own house, and of your own actions as paintor or individual and to be connected to your feelings,