I am trying to explore too many questions in considering my response to the ‘posing model’. My over-arching research question is ‘How have the experiences of disability and disablement historically been portrayed and expressed in the visual arts, and in particular, drawing?’ This question immediately leads to ‘How are the experiences of disability and disablement contemporaneously portrayed and expressed in the visual arts, and in particular, drawing?’
A nest of questions sits under these two over-arching questions:
- what are their thematic concerns and tropes? eg sentimentality, horror, freakery, grace, saintliness, etc
- how do they reflect and / or construct socio-cultural attitudes to disability and disablement? and how do we know, ie what do the artists themselves say or write about their work(s)?
- how do professional artists and art makers who have a disability or disabling condition arising from chronic illness ‘talk back’ to society about their experiences of disability? Do they declare their own disability? How is it relevant, if at all, and why?
And finally, why do these and other associated questions matter? I need to go back to myself. What is my response to the dis/ abled life model? And how can I show this? First, I need to own up to certain concerns:
- I ‘get’ that most people find images of disablement confronting, and that they tend to default to binary responses of sentimentalising or demonising those images. I don’t want to play to that song sheet.
- I want to create (through drawing and ‘revising/ reworking’ photographic images) respectful, dignified images in response to the ‘posing model’ with disability. I am not animated by the need to confront the viewer. This may resonate as a conservative position, but I argue that observing the values of respect and dignity for people with disability is essential in the wake of their continuing oppression on so many fronts.
- In any case, I argue that some, perhaps even many, people seem to let themselves be confronted by respectful, dignified images of disability. Take the example of Marc Quinn’s stunningly splendid white marble sculpture, ‘Alison Lapper* Pregnant’, displayed on a plinth in Trafalgar Square during 2005-2007. This gave rise to controversy at the time: ‘The new statue was bound to make a vivid impression in Trafalgar Square, a place as redolent of past military glory as any in London. For one thing, it depicts someone who is not male, not wearing a uniform and not dead’ (Sarah Lyall. October 10, 2005).
*Alison Lapper was born without arms and with shortened legs …Lapper uses photography, digital imaging and painting to, as she says, question physical normality and beauty, using herself as a subject. She paints with her mouth. One particular influence is the sculpture Venus de Milo, due to the physical similarities between the idealized classical female statue and Lapper’s own body. (Wikipedia)