Unfortunately due to COVID I could not instigate a physical workshop with restrictions in place; however I had advertised the premises of my project online via Facebook and Instagram to which I had a few responses from my fellow class peers and mam. This workshop is a practical format for sighted people to gain an insight within the lens of a visually impaired or blind individual (visually impaired and blind people are also welcome to join the workshop), though a minor display I hoped by conducting this workshop people would indulge in empathising with those who are visually impaired, to gather a further understanding in how underrepresented the visually impaired are within the art industry. I want to revolutionise art, expose the unspoken democracy within the art platform. Work should be for everyone to indulge in, art is said to be a means of expression, yet the vast majority seems valid only to those who are sighted. Though this workshop does not embody a tactile attribute to the viewer, this workshop rids the majority of the senses aside from being able to interact with object, I wanted to stimulate the beginnings of sight loss prior to learning orientation methods, setting into motion the raw nature of having a visual ailment.
The workshop permits the development of utilising the hands as a valid tool in illustrating works of art, a new form of observation. Fortunately this experiment was found to have been beneficial toward my peers in regards to concentration over the perimeter of the object, the details of which the object is adorned with and the form of the object. Each subject had reported, just as I did -- that the perspective of the drawing is askew and the navigation of the paper is somewhat difficult. ie. recalling the placement of the pen. Though normally I may have managed an impasto paint workshop using thickening mediums and such, these materials can be quite expensive and given that I can not conduct the workshop physically I am unable to purchase such items, though I would like to in the future enabling the white cane orientation method to be employed aboard the canvas and raised lines to be put into play.
Having collected images from both myself and my peers a true juxtaposition of perspectives and proportions have been collated that I hope to display through a collaborative piece in the future. In regards to exhibiting the blind drawings, a silk screen wall paper embellished with the drawings of everyone, sighted or not would be a great success, alongside a table filled with art supplies and blindfolds, advertised to the audience to interact with. Participation even on a small scale can assist in delivering a great message, regardless of how long the message may take to be received we will prevail.
Key Thoughts (Peers) -
> Proportions enlarged or minuscule contrary to the subjects belief when transversing over the paper.
> Navigating the pen was difficult given that the surface was flat.
> More concentrative on the object, utilising the hands and observing the subject through the sense of touch.
> Fun activity to put into practise.
> No criticism or self doubt over the art work, allowing the piece to be truly gestural and fluid.
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