@eduardmsmr
Happy Surrealist Saturday!!
After a night out with my best friend, the best remedy for tiredness is a beautiful exploration into the world of Surrealism. And since last night was surreal in itself, I wanted to look today at someone that mirrored (metaphorically) my experienece. Someone who lived many lives before she ever picked up a brush
She was a surgeon, a psychoanalyst, and a prison reformer before becoming the painter who tried to make Surrealism scientific. Her name was Grace Pailthorpe
She was born in 1883 in England, into a strict Plymouth Brethren family, and she would go on to become one of the most radical and misunderstood figures in the Surrealist movement
One of the conclusions I reached by the end of this exploration is that Grace arrived at Surrealism through the mind itself, not through art as we usually expect. She qualified as a doctor in 1914 and served as a surgeon during World War I. After the war, she pioneered research into criminal psychology and prison reform, and founded what would later become the Portman Clinic. By 1931, the association she established counted Carl Jung (Swiss psychiatrist and founder of analytical psychology), H. G. Wells (novelist and social thinker), and Sigmund Freud (founder of psychoanalysis) among its vice presidents. She was already reshaping how we think about the unconscious long before she ever thought of herself as an artist
Then, in 1935, at the age of 52, she met the 29-year-old artist Reuben Mednikoff at a London party, and they began one of the most intense and unusual collaborations in Surrealist history. Together, they developed what they called “psychorealism”, a fusion of Freudian analysis with Surrealist automatic drawing. What truly made them revolutionary, though, was that they constantly swapped roles of analyst and patient every fortnight, cross-analyzing each other’s unconscious imagery. They created art, then dissected it, then created again. Surrealism became for them a laboratory, a form of therapy, and a mutual excavation
At the 1936 International Surrealist Exhibition in London, André Breton (founder of the Surrealist movement) himself praised their work, calling it among the best British Surrealist art. For a brief moment, Grace was finally being seen, though that recognition didn’t last
In 1938, Grace published The Scientific Aspect of Surrealism, and this became her breaking point with the movement. She insisted that Surrealist art had therapeutic and scientific dimensions, that accessing the unconscious could heal, reveal, and even be studied empirically. She conducted experiments in automatic drawing not only with trained artists, but also with a charlady, trying to prove that anyone could access the unconscious through art. But the British Surrealists wanted poetry, irrationality, and mystery. In 1940, Grace and Reuben were formally expelled from the British Surrealist group
Around the same time, she developed her “Birth Trauma” series, arguing that babies experienced birth as punishment, and that our earliest moments shaped everything that followed
In 1948, Grace adopted Reuben as her son. They had been lovers, collaborators, and co-analysts, and now they were legally mother and son. It’s one of those details that makes you pause, that reminds you how far Grace was willing to dissolve every boundary. She truly lived Surrealism
During World War II, Grace and Reuben relocated to North America. In 1944, they staged Canada’s first-ever Surrealist exhibition at the Vancouver Art Gallery. Even in exile, even after being rejected by the movement she had briefly belonged to, she kept creating, analyzing, and believing in the power of the unconscious to transform. Grace was pioneering what we now call art therapy decades before it became a recognized field. She understood that making visible what’s invisible inside us could be healing
In 2024, her work was featured in the major Surréalisme exhibition at the Centre Pompidou in Paris, celebrating Surrealism’s centenary. A reviewer noted that her paintings looked “deeply experimental,” almost as if “made under the influence of drugs,” capturing just how radical her unconscious explorations truly were. Recent exhibitions, like the 2019 retrospective A Tale of Mother’s Bones, show that contemporary artists are still engaging with her ideas about the unconscious as an artistic collaborator
Grace Pailthorpe represents a road within Surrealism that was both more scientific and more therapeutically ambitious than what became the mainstream movement. She broke barriers in male-dominated fields such as surgery, psychoanalysis, and avant-garde art. She challenged hierarchies by eliminating the distance between analyst and analysand. She made Surrealism not just about creating strange images, but about healing through them
After today’s exploration, I genuinely feel Grace reminds me that Surrealism was never just one thing. It was a territory vast enough to hold both those who wanted mystery and those who wanted answers. Grace wanted both. She wanted to map the unmappable, and to make the unconscious conscious without stripping it of its strangeness. She may have been expelled from the movement, but she’s finally being recognized for what she truly was:
A pioneer who understood that the unconscious doesn’t just produce art, it produces us
Thank you for reading!!🌹