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It’s common to see signs exclaiming “don’t touch the exhibits” in art galleries and museums. While this might sometimes be an important instruction to preserve the exhibit, it also deprives those with disabilities see the art of the pleasure of its experience - or at least limits it to a secondary experience of reading a description of it. There is a dearth of visual art that considers the perspective of those with various disabilities, and how perspectives can be a part of the art itself.

It all started with my inability to see properly.

The first thing I need when I wake up are my spectacles. I always keep them next to me at night; there have been times when I have had to call someone to find them for me. Sometimes I sleep wearing my spectacles as if I will be able to see my dreams clearly - I wonder how people who haven’t seen anything ever dream!  Dreaming is so important.

As humans, we move around the urban environment as sensory beings who observe many things by the sense of olfaction. Most times we do not realize it, but our mind registers smells and sounds. Once a smell or sound fades, it leaves nothing but a memory, which can’t be grasped. Upon hearing the same sound or inhaling the same scent again however it’s enlivened, we can become nostalgic. Sometimes I gather pieces/objects or pieces of memories from the places I visit and work around creating works using fragments of those memories on different surfaces while exploring and using the texture.

My works revolves around the five senses, and how the sounds and smells of places bring back flashes of memories that we identify them with. I am constantly exploring ideas of incorporating the senses in my work and how they are related to each other. I started with making blind drawings (drawing without my glasses or lenses) and added textures like braille and embroidery to them. These hands-on processes enabled me to explore porcelain. My sculptures and paintings are inspired by my drawings, further using various textures including fur, beads, and found objects with them. I have sometimes used essential oils on these materials.

The experience gained while working with visually impaired and learning-disabled young adults have added layers to my work and have given me a deeper understanding of my concerns.

I investigate the impact that each place has on me, and the memories I create with my surroundings and the people in my life. It is always my desire that the viewer actively interacts with my work on various levels. I like to draw on examples from life for my art that encourage an audience to connect with the work on an emotional or empathetic or just simply human level. This then makes it fulfilling for both them and me. Communicating with the audience is an important part of my practice.


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