CONTENTS
I. Introduction
II. Chapter 1: The importance of touch, haptics and physical engagement
III. Chapter 2: Limitations in accessible tactile art
IV. Chapter 3: Stephanie Metz: InTouch
V. Chapter 4:Andrew Myres: ScrewArt
VI. Chapter 5: Ernesto Neto: Anthropodino
VII. Conclusion
Introduction
When we talk about art, we often describe most artworks as ‘visual art’and most artists as ‘visual artists.' It was this phrasing that got me questioning the importance of art being significantly visual. What if you are a person who is not sighted? Does art need to be visual? My Nana – who loved to paint- was registered blind in her older years, I was keen to show her my practice and artworks I had created, and I could feel her frustrations when she was not able to see what I was showing her. It was from here on, that I was inspired to create works that I could show her -and others like her, to create work that she could engage with without relying on her sight. I began my mission of creating tactile art for the blind and partially sighted Art that could be ‘seen’by touch perception and based around textures and physical touch as opposed to visuals that was more exclusive to those who are blind. For someone who is sighted and subconsciously relies on visuals every single day and especially when creating art, it was hard to put myself in the shoes of someone who cannot rely on sight. I had to discover how I can create art that can be enjoyed and experienced without seeing, which has proven to be a challenge, as I would constantly critique my work based on visual aesthetics as it is what comes so naturally to me. It is hard for someone like myself who is sighted to imagine a world without it, yes we can close our eyes or cover them temporarily, but to live every second of every day without it is a hard concept to grasp and to many, the thought of being blind installs fear and uncertainty to someone who is so used to relying on their eyes
The concept of being blind got me thinking about the inaccessibility's of everyday life and especially in the art world where sight seems to be a necessity for experiencing art. In this dissertation, through different chapters I will discuss the importance and power of touch and haptics to humans and why it is so essential in everyday life, and to question visual importance in the arts. I will look at works by artists who have created tactile art that can be enjoyed without sight- whether this was the sole intention or not. I will look at artistAndrew Myres, who creates tactile art using screws, Stephanie Metz, and her ‘Intouch’project and Ernesto Neto’s installation- ‘Anthropodino.’I want to discuss the inaccessibility that blind and partially sighted people face in the art world, particularly in galleries, museums and
exhibition spaces where touching the art is typically prohibited, as well as looking at what galleries and museums have in place currently to become accessible for the blind.
CHAPTER 1:
The importance of touch, haptics and physical engagement
Touch is the first sense we experience and even before we have come into the world. In the mother's womb babies respond to touch, and at birth, the physical connection between mother and baby is essential straight away to create positive development and cognitive growth. Jan Svankmajer- a Czech artist, writer and playwright discusses the importance of touch in his book Touch and Imagination: An Introduction to Tactile Art; “We have all been seeking tactile security since our birth, through physical contact with the world, before we could see, smell or taste.” (Svankmajer J, 2013) From the moment you are born ‘Touch-Care’is given to babies by mothers and nurses to benefit the baby by relieving stress and aiding development (Lee, S et al.., 2014) Touch is essential for babies, infants and children for cognitive and psychological development and tactile play helps infants experience and learn the environment and world around them, to understand consequences and learn how to move their bodies. In research by Darlene Francis and Michael Meaney it was found that rats whose mothers gave them more physical contact and nurturing, became “calmer and more resilient to stress, with a stronger immune system.” (Keltner D, 2010) Furthermore, research carried out by Tiffany Field, proved that premature newborns who experienced touch therapy every day for 5-10 days gained “47% more weight than premature infants who’d received standard medical treatment.” (Keltner D, 2010) – thus proving the importance of touch to our psychological and physical growth from the day we are born.
Aristotle considered touch to be most insignificant sense as it “relied on mere proximity, not the higher human faculties of thought, memory and imagination.”(Moran, J, 2021) I strongly disagree with this statement as I believe touch to be absolutely key to thought, memory and imagination and argue touch to be of most importance to the human condition. Touch offers a way of imagining- to experience something through touch, we gain perspective into how something would look visually by being able to determine material, size, weight and mobility. By interacting physically, touch drives our imagination as we use this information to create
an image in our heads of what something may look like. Touch acts as a tool to aid our memory, ‘tactile memories’helps us create links between object and physical feeling which allows us to have accurate estimations of what things feel like before we touch them. Our brains create a ‘library’of everything we touch and what certain materials feel like If you think about tree bark, a brick wall, or cotton wool, you can already accurately guess what they feel like just by using your imagination and tactile memory. It is this that helps us to understand and learn about the world around us in understanding material and object qualities and we continue to utilise this throughout life and build our awareness in tactile memories
Touching creates a learning path to better understanding how things are constructed, how they are made, what they are made of, and what its surface and material properties are. It is typical human instinct and curiosity that drives us to physically engage and connect with what is around us.
Barbara Miles- an author and lecturer who works at the Perkins school for the blind in Massachusetts, United States - spoke about the teaching and learning of children who are blind. She tells a story of a girl who one day came to school wearing a new beret- the teacher complimented her and the girl responds saying; “No, but you haven’t seen it yet”, at which the teacher then realised what she meant and walked over to touch the beret before complimenting it again- the girl said “thank you”. Miles says in seeing this interaction she was “enlightened” and realised that “their hands have to be their eyes”, and that is how these children perceive the world around them (Perkins School for the Blind, 2014) For blind people, this statement is true- your hands are your eyes- as using touch perception to ‘see’ what things are and where they are, is their way of viewing and navigating the world Jan
Svankmajer talks about how in a general sense, our touch sense is becoming decreasingly salient due to a rise in technology and visual aesthetics; “Our sight is being corrupted on an unimaginable scale”. He goes on to say the touch sense is “drowned and blunted by a flood of the most banal consumerist culture which, aided by television, commercial film and advertising, degrades our visual sensibilities” (Svankmajer J, 2013). I must agree that in the rise of technology in jobs and careers, artificial intelligence and aesthetic consumption, manual labour and connecting more physically with what is around us is becoming less customary. The term ‘Haptic’- derived from the Greek word ‘haptikos’meaning able to grasp or touch- refers to the sense of touch or ability to touch something. It refers to any tactile or physical reaction of feeling on the skin when interacting with an object, surface, or other person. In a technological sense we often hear the term ‘haptic feedback’which describes
any physical sensations experienced in engaging with technology, for example; feeling vibrations or buzzes on your phone or technology giving tactile responses. Haptic is often mentioned when discussing touch perception and the touch sense in general, the haptic system in the body is controlled by receptors on our skin that engages directly with surfaces and translates to the brain any information received from that physical engagement. Tests were carried out by S J Lederman and R L Klatzky, looking at tactile acuity of various individuals and comparing the outcomes between blind and sighted participants. It was found that tactile acuity declined in aging individuals who were sighted but was not the same for the blind; “the blind showed high tactile spatial acuity that did not decline with age” (Lederman S J and Klatzky R L, 2009). The tests looked at the objects surface texture, weight, thermal quality, compliance, and geometric properties and shows how for blind people their sense of touch deteriorates less if not at all with age as it would for a sighted person. Perhaps due to a sighted persons reliance of the visual sense as opposed to solely touch for perception, or the “regular use of active touch in daily life” for a blind person (Lederman S J and Klatzky R L, 2009). This only proves the high importance and reliance of touch for the blind in understanding and communicating in the world around us and how highly sensitive their skin receptors are for receiving tactile information. This idea is further discussed by Denis Diderot- a French essayist and philosopher- as he writes of the experiences of a blind man who said; “eyes cease to see sooner than hands to touch. I would be as well off if I perfected the organ I possess, as if I obtained the organ which I am deprived of” (Paterson M, 2007). He says how as eyesight deteriorates over time- unlike the touch sense- it is better to learn and perceive with touch rather than rely on sight, that may one day no longer be of aid to us. Again proving, not only the importance, but longevity of our ability of touch
In art, touch is often a forbidden element although is a strong way to bring the viewer and artwork together physically, experiencing touch perspective and giving a new understanding of form, material, and execution of the creative process.Art that is allowed to be touched invites intimacy, connection, and vulnerability, often to involve the viewer more and evoke a deeper feeling. Most artworks that can be touched are often in a collaborative way, whether it is in a performance, installation or sculptural concept, touch in art is usually invited to involve the viewer with the work and connecting on a level that is enhancing work once it is being experienced. Touch is used as an engagement factor, as tactile perception is just as important- arguably if not more- as visual. If art is about experience, communication, vulnerability, and relatability then why must we segregate ourselves from the ultimate
viewing experience by eliminating our touch sense and for someone with no vision- it is ultimately taking away their eyes.
As part of the Venice Biennale in 2011, Norma Jeane’s work #Jan (Sidibouzid, #Feb25, Feb14, Feb17…) (Jeane N, 2011) is an example of viewer physical interaction being essential for the work. The piece consisted of a large block of coloured plasticine in a room surrounded by 4 blank walls. The concept was to allow people to pick plasticine from the block and feel, create, and mould whatever they liked with it. By the end of the exhibition the blank walls were vividly full of red, black, and white plasticine shapes, words, mark makings and little sculptures. Physical engagement and collective participation are the main concepts of this work as it is representative of the ‘Arab spring’- a series of protests campaigning for freedom and secure political systems across theArab world. The idea of bringing people together and creating and building, working as a metaphor for fighting to create and build their future. Despite touch and tactility not being the main purpose of the work, the exhibition proves an inclusive experience for people, as almost anyone is capable of feeling and creating what they want from the work from small children to older people, disabled individuals, and of course blind and partially sighted people.
ATurkish painter named EsrefArmagan, who has been blind since birth paints landscapes and scenes with houses, animals, trees, the sea, bridges, and boats, yet has never ever seen any of these things. In an interview with TRT WorldArmagan described how he uses touch to understand the world and how painting was his main tool in doing so; “painting was a tool for me to see the world, to perceive the visual reality through my fingertips, that was the sole motivation behind my work.” “To get to know shapes and objects, a blind person must be able to hold it in their hands” (Balkiz K.N, n.d) He highlights the importance of touch to someone who cannot rely on sight to perceive. In an art sense this is taken away by the limitations of touch in galleries and museums and is a barrier between blind and visually impaired individuals and their experience with the arts.
CHAPTER 2:
Limitations in Accessible Tactile Art
Touching artwork offers a new perspective and further contextual information, exhibiting textures, temperature and material properties, all things that would not immediately be experienced by sight. If touch is so important to connect with art and offers an enhanced
experience, then why are we discouraged to physically engage with art? The answer to that simple; that in art galleries, museums and exhibition spaces, artworks are protected for conservation as they are often extremely valuable. In most museums and galleries; barriers, glass cases, ‘Do not touch’ signs and sensors are put in place to stop the public from physically interacting with the work. Some galleries -particularly smaller spaces and exhibitions- rely on the public knowing not to touch works as it is a worldwide understanding that art should not be touched.
Ahuman fingerprint contains oils, dirt and skin cells that can become harmful to a surface of a painting or sculpture. While one gentle touch seems harmless, multiple people touching a surface over time will alter and damage the work. Many statue sculptures around the world have superstitions around touching part of the sculpture to bring good fortune and many of these are examples of how many people’s touch over time can alter surfaces. Found in the Royal Mile in Edinburgh, stands a statue of David Hume- a Scottish historian and philosopher from the 1700’s- it is believed that by touching the statue’s toe, it will bring good luck despite ironically his disbelief in superstitions. The tradition was said to have been started by philosophy students who hoped Hume’s wisdom would rub off on them by carrying out this act, and over time has become a local tradition and for hundreds of tourists that gather around the statue each day. The statue- created byAlexander Stoddart in 1997- is cast in patinated bronze and due to oxidisation and exposure to the elements has turned green- like many bronze sculptures -although due to the contact of thousands of people, his toe remains a shining metallic bronze. Over time this causes erosion of the material, and many original statues are replaced with replicas due to the breakdown of a historic artwork. In many areas where ‘statue rubbing’has become a tradition it is becoming banned due to destruction of the sculpture. In Edinburgh again, there is the statue Greyfriars Bobby, a sculpture of a dog who belonged to Edinburgh constable John Grey who died of tuberculosis in 1858. This statue as well has a tradition of receiving good luck for rubbing the terrier’s nose yet has been in restoration twice due to damages. In 2014 Richard Lewis, Edinburgh city council’s culture and sport convener at the time said: “The council arranged for work to be carried out to fix Bobby’s nose 12 months ago, but damage is still being done and the restoration is already wearing off.”(Greyfriars Bobby’s nose rubbing plea by Edinburgh officials, 2014)
It is from this knowledge of deterioration due to touch that prevents us from interacting with artworks physically, despite our instinctive curiosity to feel artworks and explore the surface.
Materiality is a significant factor in a lot of artworks. Use of specific material can be used not just for practicality or access, but for portraying emotions, visual aesthetic, portraying a concept or theme, symbolism, or cultural importance. Most artworks and their materials are closely thought out and is a major factor of the artwork itself. For example, if an artwork is designed to be tactile or interacted with, material properties would be more durable, the same for sculptures or artworks designed to be displayed outside- material qualities would need to be considered for weather resistance.As stated, material can be used to be symbolic or portray conceptual ideas, for example Eva Hesse is an artist who focusses on materiality and allows materials to be representative of her concepts. ‘Contingent’ By Eva Hesse is a sculpture conveying themes of uncertainty just as the title suggests, Hesse uses latex which symbolises vulnerability and flexibility in uncertain times, Fiberglass and steel being a stark contrast in material property symbolises tension or stability against the soft latex that is so delicate and malleable. For tactile artworks made for blind people, materiality is the most important factor of the work, The material needs to be safe to touch, as well as being able to convey an image or feeling just by haptic perception alone. Materiality in this instance as well as general tactile works and installations, is an important consideration an artist must make and assess throughout the creative process.
No matter the material used, any material is bound to wear away and deteriorate over time, with very few being fully durable. It is perfectly understandable that without human contact artworks will last longer and that is something that is important when conserving historical artworks. This is where the issue lies for blind people wanting to gain full experience of an art gallery. In my own research and discussions with some of those in the blind community, art galleries and museums do not seem to be as enjoyable to those who cannot see. In recent years museums and galleries have been introducing and trialling ways of being more inclusive to blind communities to combat excluding blind and partially sighted people in art spaces. Most galleries offer audio descriptions of works as a visitor moves around the gallery, however this is still a complete disconnect from artwork to viewer. The initial impression and feeling that is portrayed in the work is taken away from the viewer and their ability to perceive their own outcome. I contacted the National Galleries of Scotland’s (NGS) organisation to find out what they offer for those in the blind community; “we run a monthly programme for visually impaired visitors that take place online or live in the gallery on the third Wednesday of every month” (Psyrra M, 2024) The programme is led by blind and sighted artists and offers a tour and opportunities to touch certain works, the sessions also
include opportunities to make art in learning spaces. Maro Psyrra- the National Galleries community and access learning coordinator went on to explain that they also offer audio descriptive tours of exhibitions and collections which include descriptions of the building layout and how to get around. “Groups and organisations which support blind and partially sighted can also book free community group visits in the galleries whenever they want. These sessions include description and use of tactile objects” (Psyrra M, 2024) In a blog written by Psyrra and colleague Meg Faragher- ‘Celebrating the Visually Impaired Programme’it discusses the programmes offered by the NGS and their objectives in developing the programme to be better and more accessible for all. “Our ongoing priority is to make the whole gallery environment more accessible and inclusive.” (Psyrra M and Faragher M, 2022). In other galleries around the world, similar opportunities are put in place such as ‘touch tours’which offer a unique experience for blind people to physically interact with the work. This however comes with its own barriers, for instance most places provide gloves to be worn to protect the work and prevent degradation of the surface, this of course makes sense and is important to conserving works however it defeats the purpose of directly engaging and really experiencing the finer details of the work. These touch tours are also predominantly on booking terms only and do not run as frequently as any other typical access to the gallery which creates a feeling of exclusivity and lack of spontaneity for the person involved. Despite barriers still being present between the art world and the blind community, inclusivity is becoming progressively significant in galleries and museums.
In an article by Fiona Candlin in 2004- she discusses the increasing opportunities for physical engagement in art spaces, including the V&Aoffering the handling of dresses for a Versace exhibition, Tate Modern showcasing Eva Hesse’s work that was allowed to be touched, The British museum offering the handling of ancient coins and a touch specific gallery opening in Wolverhampton art gallery in 2003 (Candlin F, 2004). She describes examples such as these as proof of a “growing trend within museum practice that acknowledge the value of sensory experience” (Candlin F, 2004) Under the Disability DiscriminationAct 1995, it is a legal requirement for public spaces to ensure accessibility for all, so by offering more opportunities for touch engagement for the blind community it helps to satisfy the government regulations as well as opening learning and experience opportunities for the public.As discussed previously touch is a crucial tool for learning, connecting, and gaining contextual information and I believe would only accentuate the experience viewing of art, especially to those who are blind or partially sighted. Accessibility
is definitively a progressive subject in galleries, exhibitions, and museums although there are always ways of improving. The point of contention being the happy medium between conservation of valuable works and collections and accessibility for blind visitors.
CHAPTER 3: Stephanie Metz: InTouch
In a solo show at the De Saisset Museum in Santa Clara, California, Stephanie Metz – an American artist- hosted her exhibition; ‘InTouch.’ (Metz S , 2020 [a]) The work consists of soft sculptures made mostly of wool and felt. Her work is separated by two rooms of slightly differing styles of sculpture Displayed in one room the ‘Hanging Pods’ are white, cream coloured hanging sculptures made with wool then needle felted which are suspended from the ceiling. The sculptures are all different but organically formed with smooth and ridged edges, curves and bumps and suspended in a way that they can be moved around in the space, touched, and hung at an average human height level to hug and embrace the work. Then there is the ‘Holdables’in the second gallery- which are wool sculptures that are inspired by play and consist of 47 lightweight, organic, and geometric sculptures that can be worn, sat on, and played with, all of which are varying in size. The concept of the work was that people could physically touch and interact with the works in a collaborative way. ‘The Holdables’would act as a play area for people to use the forms in any way they liked and experience the importance of physical interaction between each other and the work In describing her work, she says; “InTouch is all about connecting with others through the shared experience of interacting with highly tactile artwork.” She continues to describe InTouch as a “gigantic act of caring for the vulnerable in our community.” (Metz S, 2020 [b]) Metz recognises the importance of touch to the human condition and its effects on bettering our mental health.
Despite the concept of her work being primarily about physical engagement and collaboration, the exhibition was not experienced in its full potential due to having to be closed after only 8 weeks of a 6 month exhibition, to the Covid-19 pandemic. This caused issues with Metz’s work being able to be experienced by the public in the way she had designed it due to restrictions in human interaction, limitations of touching and closure of gallery spaces. Ironically, the pandemic only emphasised the importance of touch and physicality as across the world we were restricted of this in many ways. Due to the closure of shared spaces, encouragement to stay indoors, lack of physical connection and lack of interactions with loved ones or even strangers- it made us realise the significance of human connection, being physically within nature and the outdoors. Having this taken away from us during the pandemic along with other factors proved people experienced loneliness, isolation and deteriorating mental health. Despite Metz’s exhibition at the time not being able to go ahead with full intent, her exhibition concepts became exceptionally relevant and powerful and pushed her ideas of connection, collaboration, and vulnerability. She said; “I am confident that we humans will continue to be creatures of touch, connection and wonder, and will keep finding ways to experience and share that.” (Metz S, 2020 [b]).
Stephanie’s artistic practice began creating figurative drawings and sculptures using classic materials such as clay and ceramics before she was introduced to felting and wool. Enjoying the process, she began with felt figurative sculptures then ventured into more abstract ideas, forming relatable organic shapes, and incorporating hard materials creating contrast. She found there was an urge from her viewers to feel and interact more with her works, “viewers have been drawn in by the mysterious beckoning warmth of the felt yet tortured by being forbidden to touch” (Metz S, 2020[b]) there has been very few studies done about what is so inviting to us about certain material properties and textures however we do know that we are naturally curious and the need for touch often is to satisfy that curiosity.Amaterial which is pleasurable to touch is one we may be more inclined to connect with to seek enjoyment and to gain a happy or satisfactory feeling. Otherwise, materials and textures that are unexpected or unusual can open our curiosity and need to experience new experiences. Metz’s soft sculptures due to their soft felt material qualities can offer comfort and an enjoyable experience, the softness can also evoke emotions of happiness and calmness or even trigger fond tactile memories of the viewer. Due to the sculptures interesting shape and scale, it piques curiosity and provides a sense of belonging or relatability as they are hung at a level which invites the viewer to physically embrace it and be one with the work.Although the work is aesthetically interesting due to form, colour is not a significant quality of the work as touch is the prioritised sense to experiencing the work. InTouch is focussed more on being interesting by material, form and scale which can all be experienced by the touch sense. This proves that visuals are not necessary for fully experiencing the artwork and contradicts typical ‘visual art’. Metz’s work is a powerful experience in showing how important connection and touch is, that she has executed perfectly.Although it is not a space
specifically for the blind community, ‘InTouch’offers an inclusive space for people with sight difficulties to experience art which I believe to be unique and important, the space allows an opportunity for touch to be at the forefront of the exhibition experience as opposed to the eyes
CHAPTER 4:
Andrew Myres; Screw Art
Andrew Myres is a visual artist who was born in Germany and raised in Spain, inspired by the classical architectural surrounding and interest in modern design Myres moved to California, United States to study art at the Laguna College ofArt and Design.At first, he began sculpting as it was something he was drawn to after touring the school and his natural talent and studies allowed him to develop on his creativity and become the successful artist he is today.Although Myres creates work in various media including sculpture, painting, and drawing, he is best known for his Screw art; relief work (often portraits) made by drilling screws into a wood board closely together which he then paints onto to create an image. His idea of creating art using screws came in 2008 when he was struggling to get his work noticed amongst hundreds of brilliant painters and sculptors- he decided he had to be more unique in his ideas. He said; ‘I will always struggle, I will always think, I will always feel, but I will never give up this pursuit to be unique.” (Myres A, 2014) Myres’Screw art is a time-consuming process, taking 3-4 months to complete one piece and using up to 10,000 screws per piece. He starts the process by creating a drawing before making a grid format to help in placing the screws, he then drills the screws within proximity creating the relief sculpture effect, then using a small size 0 paint brush and oil paints to intricately paint each screw end which eventually reveals the visual image. Myres’initial aim for his screw art was to create art that required a different type of skill and craftsmanship and something different from standard art mediums and despite his success from the screw art, he continues to work with varying media and says in an interview; “I’m always using different materials...so any label is really not me” when confronted with a question on his title as the ‘screw artist’ (Showcase, 2019).
Little did Myres realise at the time that his works would be popular within the blind and partially sighted community. One of his fondest memories being when a blind man experienced Myres work for the first time- “his blank expression suddenly transformed into a warm smile. He could feel what others could only see.” (Myres A, 2014) In 2017, a short documentary called ‘Please Touch theArt’produced by Cantor FineArt, was looking at Myres’s work and its impact on the blind where he discussed how there is a “lack of tactile art” (Vimeo.com, 2016). Since being inspired by how powerful his work could be for the blind community Myres worked with George Wurtzel- a blind artisan and teacher, teaching the blind creative and manual skills in order to become artists and artisans- to convert an old barn into a tactile arts centre. The mission is to create a tactile gallery space as well as a space where blind people can create, feel, and sell their work. Myres created a tactile portrait for George as the first work to be displayed in the tactile gallery in support of him and his ideas
I believeAndrew Myres’success in creating inclusive art is still overlooked. Understandably people are drawn to his use of screws as it is an unconventional way of working and drawn rightfully to each individual piece's concept and execution- yet many overlook the importance of its inclusive qualities and that I believe says a lot on the art worlds perspectives on the subject. Myres and his work have proved to have been empowering and inspired by the blind community however what has this done for the art world? George Wurtzel and his tactile gallery is a huge boost for blind and visually impaired people in the community, yet it segregates these individuals from public galleries based on their abilities to view art. Why can't art galleries and exhibits be as spontaneous yet accessible for the blind as it is for
everyone else? Wurtzel’s gallery is a glimpse into a more positive and inclusive future for the blind community in the arts, yet I believe there is still more to come.
Myres aimed to create work that was unique, and in doing so unintentionally made work that had a profound impact on those who are blind and partially sighted. Blind people are often forgotten in art spaces and are not often considered when an artist creates- for Myres it was by chance that he witnessed the struggle of a blind individual in his exhibition space and was encouraged to allow physical contact with his works, and along the way found George Wurtzel on his mission to be more inclusive to those with visual impairments. I think it fair to say that the blind are often not considered when creating artwork as for someone who is sighted is not going to automatically assume ideas of how his or hers work will be perceived by the blind. We are often so absorbed in our own ideas of perception to think of others who may come across our work. For Myres, he adapted his work in a situation where he realised the physical barrier between a blind person and his artwork which proved to have an enormous impact on him.
5:
Ernesto Neto is a contemporary visual Brazilian artist born in 1964. Neto creates large scale multisensory installations using a vast range of materials such as rubber, fabrics, resin, polyester, wood, spices, plastic, and various others. His work is said to be inspired by the Brazilian neo-concretism movement; prevalent in the 1950’s- this was a small yet influential movement of artists who sought greater colour, fluidity, and excitement from the ridged restriction of concretism Some artists involved in the neo-concretism movement are; Lygia Clark, Lygia Pape, Franz Weissmann, Ferreira Gullar and Sergio de Camargo, who rejected the concretism's scientific and rational beliefs in art. Neto’s work draws on natural materials, environment, shapes and reoccurring patterns which are often fluid and organic and due to his scale of installations, creates a calming and spiritual environment, staying away from harsh and sharp geometrics. Neto creates work that is multisensory, “producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.” (Tanya Bonakdar Gallery, 2024) A significant element to his work being multisensory is his use of natural spices such as cinnamon, pepper, saffron, cumin and cardamom, which amplify the installation space and allow for the sense of smell to be predominant in a space where typically sight is a heavily relied on sense, Neto said; “One day, I was enticed by the smell of this spice shop, and I bought some turmeric for my studio.After some time, I became dizzy from the smell of just turmeric, so I went back to the shop, and I got other spices – it kind of balanced the environment. It is not an intellectual decision, you are captured, captivated, swallowed by the energies, which then sprout through the art.” (Art Gallery NSW, 2018).
Neto’s ‘Anthropodino’(Ernesto Neto, 2009) is a large-scale interactive installation spanning 120 feet wide and 180 feet long made from translucent fabrics and hundreds of spices, that can be walked through, touched, smelled- giving its multisensory experience. The name ‘Anthropodino’is derived from the terms ‘Anthropology’- which is the science of human beings- and ‘Anthropophagia’generally meaning cannibalism but in art terms is associated with a Brazilian art movement in the 1920’s. This installation like many of his other works allows for visitors to engage multiple senses which challenges the typical gallery experience as well as his title as a ‘visual’artist.
In ParkAvenueArmory where the artwork was installed in 2009, visitors where able to walk through, lay on, touch, smell and play around the installation in a succeeded attempt to “engage more than the visual sense” (Wilken K, 2009). Anthropodino alongside every piece of existing art comes with varying personal opinion, in a journal article discussing Neto’s Anthropodino, Karen Wilken described his work as “the day care centre of choice for the upper east side” she also stated how she saw children playing and interacting with the work and it was “the most interesting thing about ‘anthropodino’” (Wilken K, 2009). Wilken discusses Neto’s work in an opinionated and generally negative way and mentions how art and entertainment have “fused”- but despite Wilken’s argument, I believe that art is something to be enjoyed, and the more types of people it reaches and impacts- the better.As Wilken says how entertainment and art has ‘fused’I believe that although this can be true for some artworks, I do not see this as a particularly negative thing for Neto’s work.
‘Entertainment’- meaning the action of providing amusement and enjoyment- is a safe way to describe Anthropodino in my opinion. Anthropodino is an installation designed to be captivating, fun, and sensorily interesting and to be enjoyed.As well as being highly interactive, Anthropodino is bound to capture a child's playful curiosity which I do not believe to be a negative outcome, adults are also faced with the same curiosity and are taught in typical art settings to restrict themselves of exploring tactically Anthropodino allows individuals- young or old, blind, or sighted- to explore art with multiple senses and by doing this includes new communities of blind and partially sighted people and for all is an enjoyable, immersive, and entertaining experience. Not only Anthropodino, but most of Neto’s work is designed in similar themes and aims to engage viewers past the visual
experience. ‘Madness is a part of Life’ is another fitting example of Neto’s multisensory and engaging art which allows people to walk on, sit and touch and experience using various senses.All of Neto’s work is designed to give viewers an experience to utilise every sense. In doing this- unintentionally creates an inclusive space, not only for the blind, but for neurodivergent people such as those who suffer from autism,ADHD and sensory processing disorder who would all benefit from multisensory spaces, people with cognitive challenges such as people with learning difficulties or dementia, children, people seeking relaxation or immersive experience and people with hearing loss. Anthropodino offers so much to many individuals and communities and inspires me as an artist aiming for a similar outcome.
Conclusion
Whether blind or sighted- it is proven touch is essential to experiencing life and the world around us, for providing contextual information and for developing cognitive and psychological growth in a person from the second they are born. Touch helps us to be vulnerable and connect with others, objects and our surrounding environment and in my opinion is the most powerful sense we have For the blind and partially sighted community their hands are their eyes, they use touch to learn, navigate, experience, and discover everything around them. There is an obvious barrier for the blind when it comes to experiencing art galleries, museums and exhibitions and it is contentious subject. There is valid reasoning for the lack of physicality in these spaces and I do believe navigating around this is a progressive topic. Inclusivity is a huge part of our world today and I believe people
of all disabilities should be allowed the same luxuries of experiencing art as anyone else.Art is so vital to our education, creativity and understanding of the world, cultures and histories and aids people struggling with mental health- this is why it is so important to be inclusive as possible for all individuals- yes it is also vital to preserve valuable and historical artworks for the same reasoning, hence why encouraging touch to certain extents is argued and typically prohibited, It’s how we combat that and push for inclusiveness in the art world that is key.Art is always seen to be a typically visual experience, and I will continue to challenge this ideology as it does not have to be and has been proved by various artists and artworks, such as the ones I have mentioned.Art is interpretative, meaning it is fully individual in how one perceives it, whether that is through visuals or other senses perception does not come solely from the eyes, there needs to be more opportunities to explore in varying ways
For artists who explore tactility such as the ones I have discussed through this dissertation, I feel not only is the tactility an element which makes the work successful, whether deliberate or not, but it includes a whole community of people who don't typically get the chance to experience art. ‘Visual art’is an unnecessary term which puts a mass range of artworks into a box excluding those who are blind and as previously stated, perception is not exclusive to the sighted people of the world. Touch is also proved to be a key component of connection and holds so much power in understanding and experiencing something real and immediate which is essential in art, and I believe it should be considered more often by both artists in their creative processes and in the accessibility of galleries, exhibitions, and museums. In my own practice I will continue to create more multisensory art, push the touch sense, challenge the idea of ‘visual art’and hope for expansive opportunities for the blind and partially sighted community in the art world. Not all of us live in a sighted world but we all live amongst art.
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