Because of her leg paralysis, she was forced since she was a child to lie in bed and face great pain. She found the escape from pain and her body by drawing on the window. She drew a small door, via which she would go out with her imaginary friend. This process of escaping the reality by drawing on the window can be related to her painting later, which she used to escape reality. However, before beginning to hypnotize her pain by painting, she would hypnotize it via Diego. It is known that she did not paint at all in the beginning when she was with Diego. Even later, after she had become disappointed with Diego, did she start to express her traumas by painting, and by expressing the trauma, one diminishes its effect. Brojer says that the symptom is removed in most of the cases if it is told, and also if telling it is intense, if it is emotional, the symptom is removed more easily (Котеска, 2013: 408). Therefore, every moment of pain and misfortune was painted, except for the epileptic seizure of her father; the misfortune, and the adultery of Diego and Kitty. Thus, they would remain traumas within herself all of her life, but they would also remain the root of all other misfortunes that she painted.
In Diego she found her father’s replacement, as she became aware that the latter could no longer care for herself, because of his frequent seizures. Or maybe since she saw her father in such helpless state, she started to subconsciously look for other protection, where Diego matches fully. Therefore, she agrees to marry him despite the awareness of his affairs. When Frida became conscious that Diego would not change, that he continued to see other women and dominate with his figure, she started with her specific way of dressing. She became a decoration, with too much make-up, with flowers in her hair, with her eyebrows and she event let moustache grow above her lips. Diego saw this wish to be liked by him, to attract his attention and be different than other women. When Frida became aware that Diego would not respect their equality, most probably experiencing the woman following the principle of lack 3F, she started this period of clowning by stressing herself as an occurrence. When it comes to this stressing, Freud says: female desire for beautification is the only “normal” way to deny the inferior position because of lack of phallus. The woman, says Freud, starts to develop a secondary narcissistic investment in her body, and she treats it as the man would treat a love object. The body becomes the means of belief that she is loved. She becomes a fetishist of her body, hoping that she would compensate the loss of penis. This “normal” solution to the “normal” woman means that to use travesty, make-up, luring, etc. aiming to turn her body (for her) into her penis (Котеска, 2013: 803). However, this attempt to attract also did not prevent Diego in his love adventures.
Frida’s relation to her mother, unlike that with her father was very different. She had never had the support that she had from her father and Frida was never close to her mother, nor did she try to be liked by her, as she did with her father. When it comes to being liked by one of the parents, Freud says: the process of edipisation of the girl goes in such a way that the girl first sees that she has been “castrated” and then she seduces the father, but because just as the boy, the girl is also doomed to failure, she turns to the castrated mother again to identify with her, and the desire to own a penis is compensated with the desire to have a child with her father. By identifying with the female role of the mother, the girl replaces her libidinal desire for her father with the desire to have a baby with another man, and in this way satisfy her desire to have a penis (Котеска, 2014: 805). With this quotation, one can explain the love and fixation with her father, her love to her mother after she dies and the great desire to have children with Diego.