Winnicott 理論中的過渡性客體，指嬰孩創造出來替代照顧者，協助自己安定身心，得到安全感的客體。此客體介於母親與嬰孩之間的中介地帶，在嬰孩分離個體化時期，協助嬰孩學習掌控及自主性，同時是個體之象徵化能力的開始。青少年時期再次面臨邁向獨立的成長期，形成對過渡性客體的需求。本研究以一個九人組成的七年級美術班學生為焦點訪談團體，試圖由客體關係心理學解讀青少年珍藏品的種類，擁有原由和心理意義，並探究其與視覺藝術創作之間的關係。研究結果顯示，美術班青少年的珍藏品種類多元，不一定全部屬於過渡性客體，但個人的過渡性客體可能包含在這些東西當中。再者，青少年珍藏物件的原因與金錢價值較不相關，但與心理感受較為相關。最後，這些青少年因其藝術創作之專長與興趣，使藝術創作成為具有過渡性特質的心智活動。然而，美術班的學習壓力，同時造成部分青少寧可遠離視覺藝術創作，轉投入其他相關的藝術創作形式。

Transitional object, an intermediate area of experience between infant and major caregiver, is one of the most notable contributions of Winnicott. During the time of separation-individualization, a transitional object helps calm the infant and make them feel secure, increases their sense of control, and assists them in coping with frustration better. The second stage of individualization occurs in adolescence, during which time the transitional experiences function similarly as they did in early life. The present study tries to understand the collecting meaning and relationships of visual art creativity in adolescent from the object relation perspective. The focus group is consisted of 9 members from a 7-grade art talented class. The results show that the various objects are not necessarily one’s transitional object, but the transitional object may be among one of the possessions. Moreover, transitional object may be transformed to different activities including visual art creativities by adolescents. However, the overwhelming pressure to learn in the art talented class may have a negative impact on the adolescent’s attitude toward art making, which may causes some of the teenagers transfer their attachment from visual art making to other forms of creative activities.