
Natalee Bigger Stockdale is a cult survivor and an art therapist. In this episode, Natalee and I talk about the healing power of creative expression for cult survivors, and other survivors of trauma. Among other topics, Natalee points out that when we use visual means of creative expression (painting, drawing, etc.) we bypass the language areas of our brain, which accesses other parts of ourselves that need healing. She also talks about how creative expression is an excellent tool for helping us recover our sense of self after being in a high-demand group.
In the introduction, I talk about a recent article that highlights the art therapy being made available to wildfire evacuees in Penticton, British Columbia.
This episode of Creative Alchemy is supported by the audiobook version of my award-winning, Amazon best-selling memoir, Cult, A Love Story.
Readers call the book ‘compelling’ ‘gritty’ ‘intimate’ and ‘not boring’ – which is what an author loves to hear. I narrated the audiobook and if you have a Spotify premium subscription you can listen to the audiobook for free as part of that subscription at alexandraamor.com/spotify.
Natalee Bigger Stockdale holds a bachelor’s degree in studio art and business from the University of Northwestern and a master’s degree in clinical mental health counseling and art therapy from Adler Graduate School. She has worked in clinical practice as a Board-Certified Art Therapist (ATR-BC), Licensed Professional Clinical Counselor (LPCC), and is a Board-Certified Neurofeedback provider (BCN-L). Natalee completed a postgraduate certificate in the Psychology of Coercive Control (PgCert) through Salford Univeristy and has relocated to purse doctoral work with Florida State University in the Art Therapy Practice and Research Program, supporting the recovery journey of victims of exploitative persuasion.
Self-portrait by Natalee Bigger StockdaleConnect with Natalee at LinkedIn.
You can listen above, on your favorite podcast app, or watch on YouTube. Notes, links, resources and a full transcript are below.
Show Notes
- Discovering art therapy after immersion in music and ceramics
- On meeting her husband who had also been in a cult
- On Adlerian psychology and its core tenant of belonging
- How making art reflects how we present ourselves in the world
- Coming to enjoy recovery work with those from high demand groups
- Getting involved with a somatic drumming group as a licensed therapist that turned out to be high demand
- When is it safe to explore art therapy after a high demand experience?
- How making art bypasses the language centres of the brain
- How to find an art therapist to work with
- Suggestions for using art on our own to heal
Resources mentioned in this episode
- Article at the CBC website about art therapy for wildfire evacuees
- The International Cultic Studies Association (ICSA)
- The Lalich Center on Cults and Coercion
- The American Art Therapy Association
- The Canadian Art Therapy Association
- Julia Cameron and The Artist’s Way
Transcript of Interview with Natalee Bigger Stockdale
Alexandra: Natalee Bigger Stockdale, welcome to Creative Alchemy.
Natalee: Thank you, Alexandra. It’s nice to be here.
Alexandra: It’s great to have you here.
Tell us a little bit about your background.
Natalee: Sure. I know we’ll probably get into the professional part because that’ll be part of art therapy. But for me personally, I grew up in Iowa in the U.S. So Midwestern girl, kind of rural and small town.
I always loved art; was really drawn to that. But I was trained in classical music. That was my mom’s dream for me and our family. And it was easy for me. Still worked, but I think the thing that was the easiest and just came out of me naturally as a maybe like a native language, if you will, or native expressive mode was through visual.
When I was in high school, I had a really wonderful art teacher, and after I graduated, she told me art was always easy for you, and so that helped me define myself as an artistic person. Although I had all this classical training in music, and that’s what I decided to pursue in college. Even though it’s like a maybe a starving artist degree, I’m lucky that it ended up where I am.
I’ve always followed my heart that way, and really value being led. I guess, like by my intrinsic interests.
Let’s see what else. I love being outside and out in the forest. That’s always something that’s drawn me back to myself is trying to get near, especially rivers. They just call me.
Alexandra: You moved from undergraduate work into a greater interest in art therapy.
How did that happen?
Natalee: I moved from Iowa up to the Twin Cities for my undergrad degree. I focused mostly on painting and ceramics, and then I spent about seven years in production ceramics. And it is hard work. It’s takes a toll on your body, my body, and there are a lot of different things. You don’t talk a whole lot. It’s a lot of numbers.
I did glaze testing for a while, mixing dry chemicals. I did a lot of slip casting for my own work and dry clay mixing, so it was pretty. I don’t know. I guess it was it was fun and playful at sometimes, but it’s also this thing that turns into a job with deadlines and the hustle.
And so, along with that, I would say in that realm, a lot of folks are there just for the art and production, not necessarily self-reflection and internal exploration. I was always longing for that and missing that when it wasn’t happening in the production scene, and so I ended up moving.
I had a roommate who was trying to get to New York for an art therapy degree, and I had heard about art therapy before. And it lit me up, and I had that intrinsic draw towards it, and I didn’t feel like I could pull off New York, but Minnesota had a one school that offered a master’s degree, and so eventually I was able to become stable enough.
Actually, met my husband. Maybe I’ll do a little segue here. He loves telling this story.
We both were in high demand groups, and he had never found really any help or anyone who understood that.
He had gone to therapy and started unpacking some some of his own stuff, and he had gotten married while he was trying to escape this hiding group, and realized that that relationship wasn’t ever a match. It was more of a like escape route, and so that was dissolving.
As he was in therapy trying to figure out the next direction, I guess we ended crossing paths, and I thought he was total trouble. I was afraid of being attracted to someone, and I would say he was the first person that I was genuinely ever attracted to, and which is kind of bonkers, I guess.
We end up going on a date. It goes great, super great. Then the and we went to American Craft Council show. So talk about creativity. We’re in creative spaces, looking at aesthetics and beauty and craft. And we go on a second date, and we’re walking around Lake Harriet in Minneapolis, and he all of a sudden changes, and I’m like, what is going on?
He just went into a turtle shell, and I think I had asked a question where the timeline wasn’t like clear. You know, you’re like trying to get to know this person you’re like interested in. He turns to me and I could tell he expected rejection, and he goes, “Well, I was part of a cult.”
To this day he’ll say that he thought I was going to be like, okay, bye. And I was so relieved when he said that.
My eyes got big, and I took a step towards him, and I just said, me too.
We’ve been inseparable ever since.
Alexandra: Oh wow! I’m getting chills all over when you said that.
Natalee: Yeah. So that’s it. He’s a really big gift to me. I think we are to each other. And long story short, up to how I got into grad school.
Life finally became stable for both of us in a lot of different ways when we found each other, and I was able to pursue that dream of getting an art therapy degree, and got into private practice, and this is a key point, though, with my specific degree. I was trained in Adlerian psychology, and quick snippet. I guess this is like nothing that I wrote on the paper question, but maybe it’ll be interesting.
Adler, Freud, and Young were all contemporaries. Adler is easily forgotten in the history or lineage of psychology because he was actually the president of Freud’s publishing house, and he disagreed with Freud publicly in one of the forums about women being inferior, and that our core drive was of a sexual nature.
Freud called a vote, and they voted him out. He was excommunicated, and all of his publishings in Freud’s journal were revoked. And so Adler went away and continued develop to develop what we call individual psychology. It’s its own branch of psychology, and it’s at its core, it’s about belonging.
The desire to belong with our fellow human is our core. It determines our behavior of how this is going to help me secure a position with people around me. Whether that’s a tragic strategy to meet that need or a beneficial one is more of the question. And he was really into the creative life force, so that everybody is a unique creative expression.
Their personhood, their personality, and anytime we interact with someone different, it’s actually like a whole different painting, if you will, or like a whole different, even hybrid. Like when two different people come together, that’s even a new thing.
So for me, it dovetails into art therapy really well because there’s the meta level, but then when it comes down into the materials and working with someone in materials in a clinical way, it’s you’re seeing that person in a projective exercise, and not only in what they create, but how they create it, how they choose to sort through which materials they want to go towards, or how they display confidence in trying something new, or going to a familiar thing, or mixing things, or we call it containment.
I hear this almost in my professor’s words: the containment of the materials. Is it all over the room? Are we needing to bring it in for them, and that’s a co-regulating act, or is it hard for them to even make a mark because they’re afraid to take up space or to make a mistake?
So different kind of spectrums or directions of movement with that. I did that for about five years. And at Adler, it’s very embodied, I would say, and very relational. So experiential learning is Adlerian. He’s also very pragmatic.
I love psychoanalysis, and my friendly folks who practice this invaluable. Thank you for their work. Adler had this idea of brief therapy, that it was to help people get to that strategy, resolve this strategy of how to have their need for belonging met, and if we can help them do that, then we can help them get along in their lives, and we work ourselves out of a job, essentially.
So, that being said, Adler Graduate School was a nonprofit, and it was not a research institute, and my classes that I was most intrigued with were these more like assessments how they had taken art making and then applied standardized measurement tools to it, which is really hard. That’s like so abstract. But there’s several people who are in that and gathering data on that and generating kind of these themes.
Or I won’t say norms, but ideas that come out of humans when they go through certain things, or when they’re connected in a certain way, or how they display a family, projective exercise of their family on a piece of paper.
So that’s what really drew me into my interest in PhD. I was always reaching out to people in my textbooks, seeing if anybody would get back to me, and one did. Except Dr. Nancy Gerber, who I am getting to work with at FSU.
She walked me through this process after I was licensed and working with people and really getting to know the field, she said. If you want to get into doctoral work, look for the gap.
I fell in love with high demand group recovery work.
There’s so little, and clinically speaking, I mean, we’ve got podcasters, we’ve got Netflix, like these are all arts, like valid collective expressions of this theme that’s emerging in the collective awareness. We don’t necessarily have that up to speed in research, scholarly work, therapeutic best practices.
I’ll rewind just a second; I got involved with a somatic drumming group as a licensed therapist that sucked me down the trail where I was like, oh, you know what? I’ve been here before in my early 20s. I got involved with a high demand group. I know what this feeling is. I’ve done EEG training.
I know what this looks like on a screen. My theta is off the charts right now, and I am dissociating. And they’re telling me that it’s good. No, it’s not good. It’s not. I’m getting ready to either be rewritten according to their agenda, which I don’t know what that is, so I can’t give consent, or I’m just going to float away until like nothing’s left.
You can even tell, like, just recalling it. So good intentions bound me up in a similar situation, and I left. I left in time, and I had something that got brought up for me. So I guess the researcher term is like heuristic, like starting from within research. And I had this experience come up for me, where I was like, I’ve been a licensed therapist, and nobody’s ever mentioned cult, high demand group, religious trauma, course of control, interpersonal relational betrayal.
All of these terms that are starting to bubble up from people having Reddit conversations and wherever we find our little threads to talk about it, and that’s the gap. I felt like I needed to do something about that, and I’ve been so humbled in my PhD practice.
I’m like, okay, everybody comes in thinks that they’re going to change the world. I saw this on a meme yesterday. I was like, that’s it. Now I’m just trying to change the font on my final paper. Like I’m just trying to make the next deadline. That’s it. I mean, those do add up over time.
But that’s that’s what my inspiration is, and why I’m checking this out, and really, I guess even more so, trying to find like an even smaller gap, because in dissertation we really I need to get really clear about what’s going to be most valuable. What’s gonna help people know, if I go this direction, it’s going to help me, not harm me with creative expression or writing or singing or any of those things.
I’m not a music therapist, and that’s a whole other branch of clinical that I won’t be into. I’m yeah trying to recycle that for myself. Also, we have a lot of, we call it reflexivity in research, where we don’t want to project our. It’s a really hard tension and line to walk, which is I’m led by something that I know, but I can’t let that blind me to other possibilities or other ways of asking questions when I approach people for the data. And so that’s a thing I grapple with.
Alexandra: As someone who has had the experience of high demand groups, how have you found art to be healing?
Natalee: I love that question. I I think it’s like coming home for me. Visual art for me is simple. It’s clear, and I almost want to use the word pure for me. That might not be the case for everyone. I also am neurodivergent, so I have dyslexia and definitely have a strong spatial bent to me. I think this is really curious.
Daphna Moria, she’s a art therapist researcher out of Israel who just published a paper on doing a kind of like a comprehensive overview of one’s own body of artwork, and then how to look at that from a scholarly or like researcher point of view, and unknowingly, when I heard her speak and read her paper, I am like, oh my gosh, I did that about art because I had this whole body of artwork that I had made that I could never explain.
If you go through art school, your teachers are always like yakking at you about clarify your voice, clarify what you’re saying, and I’m like, how do I do that? It’s an image, like, and no one can see me. No one’s speaking to the wound that happened, so I don’t know how to articulate this or even in what direction to go.
It was purely material exploration at a certain point. But these themes, as I’ve gone back and looked at them, is actually the portfolio that I pulled together to get me into the PhD program, and after doing a software program and really getting plugged into ICSA, I would say here in the U.S.
That’s like the you know the thing that we kind of look to. Organization. I started getting language for it, like being able to consciously articulate. Hey, when I was working with broken shards of porcelain, I wasn’t like someone else where I was throwing those pieces away and moving towards a different material.
I was determined to use these, even though they’re broken and they’re razor sharp. What’s up with that?
But I I projected some part of my identity into these pieces that I had to gather and make something out of. And I still have one hanging up over there. I turned them into little pieces of stained glass where you put the copper tape around them and then solder, and then put a jump ring, and then I made them into mobiles. It was like finding balance with all of these broken pieces.
I call them reimagine, and I consider them a self-portrait, because I had the imagination of what it was going to be when it first came out of the mold, but that didn’t work. So I might liken that to like approaching a group and then appealing to that glimmer of belonging, however, that hooks different people. Mine was significance, I think. Having some sort of permanence or like closeness with a group of people who are headed in the same direction.
After you leave, it’s almost like I had to give up on that dream. But that’s in essence what I rediscovered with these pieces, and then articulating later in words, is, oh, it’s not the dream that my psyche and soul cast to belong. It’s just how I was trying to get there, and this this dynamic that took advantage of it,
So, however that happens, I know enough to know I know very little, and there’s very complicated dynamics with all those things.
Alexandra: On that note, when do you think it’s appropriate for a cult survivor or a survivor of other kinds of trauma to begin art therapy?
Is there a time when it isn’t safe? You know how they say when people join Alcoholics Anonymous, for example, you’re supposed to stay out of relationships for a year. So, is there a similar rule, so to speak, around when someone could start art therapy?
Natalee: That’s a good question. I guess what comes to mind first when you ask that, and I have different things written down, but the first thing that comes to mind is that art therapy was birthed in the in the most destitute, like highest acuity populations.
Art therapy was the last resort for people who were beyond help.
So, state kept wards and veterans, so like really severe PTSD suffering individuals, and what they know clinically speaking about the art is that the act of making or expressing through image, or play, or different materials, it bypasses the language centers of the brain.
Oftentimes when we’re doing cognitive and talk therapy, we’re activating those parts of the brain to try to reprocess, but they can reinvoke the experience of that traumatic happening. So our memories, we can feel them up to 60% of when they when they first occurred to us. That’s an awesome survival tactic to map safety in the world.
But when we’re in talk therapy, that can flood someone very quickly. So when we do these projective exercises, it can bypass that part. We might talk about it after. We might do containment with just the materials. We might have put it in a folder at the end of session and saying, “Okay, like we’re closing up now. This will be here for whenever we want to revisit it later.”
That person can have a tangible symbol. And I guess there’s neuroscience too. I don’t know how far you want to go down these things, but I find them so interesting because I think it’s almost linked to how I naturally experience the world and ask questions and process. So I’ll tell this one other thing, and then maybe I’ll get back to your question.
The part of the brain called the hippocampus is responsible for geographical remembrance and navigation. There is some research that suggests that that’s also similar to how we orient our relationships. So, like our human relationships. So we can use projective exercises, even like with blocks. It doesn’t have to be necessarily art materials, but we can use these blocks to project the experiences for warmth or coldness, distance, closeness.
Is this person more emotional with me? Are they more cognitive with me?
We start mapping the experience of these people or or ourselves. I’ve told everyone that’s on this board, but I’m trying to pull together a committee for my doctoral research, and I have every person that I have an option of asking. I have them printed off and then on a magnet, and in the center, this egocentric exercise. I’m there in the center, and I’m starting to map who’s who’s my team, and it mirrors it back to me, so that I don’t lose it. Somehow, that’s a a confirming circle or loop for me to be able to interact with objects that way. If I talk through it, it seems to flutter away.
So that’s one of those little like neurological hacks. I think that’s really interesting about art. I try to observe that a lot with folks that I sit with in session with spatial orientation of materials of what they’re putting on the paper, even if they’re really like drawn to fibers or like knotting jewelry bracelets. There’s kind of like a bilateral soothing thing to that, like okay, we’re like doing some somatic soothing, and usually that pacing, like we can wind down in the session and get to like one or two, like maybe like big landing places for them of like whoa, I experience betrayal, and then they just go right back into knotting.
So it’s not this big overdone, explosive emotion. I guess it’s really taken into the objects. So to your question about the bunny trail, I love bunny trails. They might be my favorite animal.
Your question is: Is there a wrong time to start art therapy?
I would say, obviously, if the person’s in crisis, like there’s a pretty big spectrum of people coming out of groups, and depending how long they’ve been in the group, what group is if they’re first generation survivor, second generation survivor can be determinants of whether art therapy is maybe an auxiliary support.
If we’re in crisis management, I don’t want to be doing bracelet reading with you. I mean, it could be helpful in like an extreme case, but we want to make sure basic needs are met. So that’s part of any clinical assessment, though. With having someone come in and we’re checking, are your basic needs met? Are you experiencing the closest? Do you need medical attention? Sometimes that role is helping those those services get lined up first.
I think it’s important to know too that art therapy is an emerging field.
At Adler, I was dually credentialed. I didn’t really know this when I got out into the big, big broad world of art therapy, but I was trained as a licensed professional clinical counselor and an art therapist.
I see art coming through in pretty much everything I do, especially as like a meta view of I’m a pretty creative person. Even with how I talk to people, so with that being said, there may be certain art therapists that have extra clinical support that they can offer. So that can be kind of a dovetailing service or support.
I would look at probably like more stability of the person, and then the fit. Obviously, we want the fit of the person with the therapists to be good, and some art therapists, I’ve been trying to do my due diligence with presenting, but not all. Just like normal therapist world, not all therapists know about this, and in fact, many of them don’t. And even if they know about it, it’s are they willing to learn outside of session?
The Lalich Center has a course that therapists can take.
Are they willing to check that out? Are they willing to meet you there? This goes for art therapists too, and credentialing is up and coming too. I’m duly credentialed in Minnesota and in Florida, but some some art therapists aren’t, and so that’s just a different consideration to take in mind.
And I would say for the person who’s looking for art therapy, or like, is that a potential for me? What do I want out of this? Am I going in with an idea of I’m going to develop skills around art that might be an art class, not an art therapy class or session.
With art therapy, you’re going to probably have some really profound digging.
It’s our job to itirate and stay pace with you, but it’s also this like we’re not doing our job if we’re not asking hard questions and being there with someone with the with the darker stuff. So yeah, asking what they want out of it. Art therapists are also going to have a treatment plan goal. I think they should.
For cult survivors, I think it is really important that they also know an end date.
For me, honestly, I sometimes shy away from engaging with my own therapy because I’m like, oh gosh, wherever. I need that because I’m in mental health, caring for other people. But yeah, I think that it is important, especially with payment too.
That’s a final thing I would say for people to ask about is upfront, like what is the pay agreement? Do you take insurance? Do you have a sliding scale fee if you’re not in insurance? How many sessions do you think it might take to work through this this specific issue?
I’m thinking that type of client probably is I would five to 10 years out of their group. Although, if it’s someone’s way that they process, like it could be straight out of their group that they’re like, I just need a place where someone can witness me expressing this horrible thing, horrible things that happen to me, and be able to contain it with me.
Alexandra: Very good points, and I really appreciate you bringing that up because I think it’s so important for people to keep themselves safe when they’re searching.
As a cult survivor myself, and you’ve had this experience too, we’re so vulnerable when we’ve just left a high high demand group.
The reminder that we can set boundaries around these things. Ask for the pay schedule, like you said, and the end date, and those kinds of things. I think that’s so valuable.
And I love that you said too: this is not an art class. It’s therapy; that is right in the name. Just a reminder about that as well.
I loved what you said about language; that art circumvents, or I don’t know if that’s the word you use, goes around those language parts of our brain. I had never thought about it that way before. There was just such a light bulb that went on for me when you said that.
As a word person, a writer and someone who expresses themselves very much verbally, I can really see the value sometimes in getting out of that kind of habit in a way and expressing myself in a different way, so that was really interesting.
On that note, how would a cult survivor or anyone else find an art therapist in their area?
Natalee: I would probably point them to American Art Therapy Association’s website. They have a provider directory, and within that, usually most states are having their own chapters nowadays. Minnesota just dissolved, but Florida has one, so you can check out their website. americanarttherapy.org, I believe, and you can search, I believe, by state and check out who’s who’s licensed and certified that way.
Alexandra: I’ll put a link to that in the show notes, and then I’ll see if I can find a Canadian equivalent as well. Since I’m in Canada, there must be.
Natalee: Yes. I think there is a Canadian Art Therapy Association. I’m pretty sure there is. So, I can try and send that to you as well.
Alexandra: Okay, great. I’ll put some links in the show notes.
If someone doesn’t have the resources to work with an art therapist one on one, what are some other things that they could do if they feel drawn to art making.
Natalee: I think of art therapy really as a spectrum, and I don’t want to say that things outside of the clinical setting are therapy because that’s not therapy. But it’s still this really essential part of their creative self that they may have the safety even just alone to start reflecting in a nonverbal way and starting to capture notes.
Not like I would say like visual notes, like like an aggregate of esthetics, if you will, I think these are powerful things that we can reference in constructing or reconstructing identity after we’ve been through identity dissolution or foreclosure.
I would say get a sketchbook if that draws you.
That might be get water colorings, little setup, put it in your backpack. It might be knitting for some people. Go towards the thing that draws you. Maybe go on a day trip to Michael’s, if you’ve got the budget. Set a funny dollar budget, and what’s one little thing I could acquire to inspire me?
In that act, there’s these micro choices And discernment or self connection, where you get to make a choice again, and practicing that choice making, and then having an object at the end to take with you, can be kind of that anchor, if you will, in other environments. I think that’s a what I would say.
There’s a really phenomenal author named. I think she’s great but she might have a cult following, so don’t get too culty about it, I guess. But Julia Cameron,
She wrote The Artist’s Way, and teaches about writing three pages longhand a day.
She’s got a free app. If that’s a way that someone wants to continue like catharsis or like getting the words out, the narrative out.
And then the thing I just mentioned; I have to give her credit for that because that’s called what she calls an artist’s date, where you go out with your I think maybe like magical inner child and you something that delights you that you get to return to play. There’s not a goal that you’re trying to accomplish.
So just practices that kind of loosen that and then get back into, I’m a human being.
Alexandra: That’s such a good reminder about the artist dates. And she says things like even just going to a yarn store, even if you don’t knit, but just seeing the colors and feeling the different textures that she considers to be an artist’s date.
Natalee: Yes. Absolutely. And maybe finding other creatives. I was like, yes, I remember that. It’s delicious. Like in a kind of like alive kind of way. Colors and textures, and like being drawn to different things in the store, and wonder. Oh, that’s fun to just even talk about it.
Alexandra: I don’t go on enough artist dates. I need to do that more these days.
This has been so lovely, Natalie. It’s been so nice talking to you. So you’re doing your doctoral dissertation now, so you’re not necessarily out in the world.
Is there anywhere we can go to learn more about you?
Natalee: If I have work coming out, I will put it on my LinkedIn profile. So, if there’s folks who want to follow along or friend me or connect or whatever, that’s where I’ll be for a little while.
Alexandra: Great. Okay, so I will put a link to that in the show notes as well. And you mentioned ICSA as well, and I wanted to say, for those who don’t know, that’s the International Cultic Studies Association, and I’ll put a link to that in the show notes as well. We’re recording this in July 2026.
You were you at their conference earlier this month?
Natalee: I had two presentations with them this year on art therapy and internalized shame that was with Felicia Rosario and I think people might be able to find recordings of those maybe in their archives if that interests them. Pretty academic, so I fair warning. I think interesting, but just you know, and you can see that body of artwork that I talked about that got me into the PhD work on one of those.
Alexandra: Awesome. Okay. Again, thank you, Natalie. It’s been lovely chatting with you.
Natale: Thank you. Thanks for having me.
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