Architecture has always been included in the fine arts. As a practice, it has always been moving along the thin line between art and science, something that cannot be said for every art form. In similar acrobatics, making its own way, it exists psychoanalysis.

As a particular practice that approaches the psyche, psychoanalysis, since its freudian inception, has been confronting the critical question of every art: Where does the creative process come from?

Trying to grasp something of the mystery that creation is, in this research, we will observe the notion of sublimation, the par excellence word that is used in psychoanalysis to consider the phenomena of creation, as it is encountered in the work of Freud.

The freudian invocation to sublimation is always sporadic, never taking the form of a coherent study, conversing with central concepts of his theory, maneuvering through contradictions. At the same time, it is intertwined with the constructive course of freudian thought in relation to the theory of psychoanalytic practice of which Freud was originator and pioneer.

So we will see sublimation relating to the repressed, the defense mechanisms, the mnemonic construction, but also to the remnant of the bodily in the psychical, the drive and its vicissitudes. We will see civilization being structured by sublimations but also setting the sublimation process against its limits, drawing materials from an expanded concept of sexuality and its dead ends.

This research includes images, inserted in the in-between spaces of the sections, that have been constructed by the author. They are sublimations, the creation of which dates from 2014 to 2021. The reasons for their creation vary but coincide with the writer's involvement with psychoanalytic theory and are inspired, infected by it while attempting to converse with it.