By Julia Kellman
Instead of imminent the artwork of precocious younger artists with autism as enigmatic and symptomatic, their paintings is explored as having its foundation in human body structure and within the intrinsic human desire for which means. The narrative photos in those younger artists' remarkable paintings function either proof and concentration, permitting us to work out the commonalities of all artwork and image-making. No paintings has been thought of extra enigmatic than that of children with autism, for his or her usually super early drawings intrigue audience with their shiny, visually-based, viewpoint emphasis.Such artwork, frequently spontaneously produced through artists often thought of retarded, is tough to appreciate in the traditional constructs of drawing pedagogy that emphasizes the need of perform and adventure for mastery. in spite of the fact that, it's a valuable technique of expressing one's inside self and of sharing with others a story of one's personal construction. ultimately, this expression varieties enduring hyperlinks with folks within the universal human language of traces and kinds.
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Extra info for Autism, Art, and Children: The Stories We Draw
Grandin states, “When I do an equipment simulation in my imagination or work on an engineering problem, it is like seeing a videotape in my mind. I can view it from any angle, placing myself above or below the equipment and rotating it at the same time” (p. 21). She continues, “I create new images all the time by taking many little parts of images I have in the video library of my imagination and piecing them together. I have video memories of every item I’ve ever worked with” (p. 21). Most significantly, Grandin reports that personal relationships themselves “made absolutely no sense to me until I developed visual symbols of doors and windows” with which to visualize the give and take of social interaction (p.
The philosopher Susanne Langer (1953) helps us to understand this relationship of visual structure and meaning in art, since according to her, it is structure itself that allows for the presentation of the artist’s feelings in forms that can be shared with others. At the same time, as feeling and imagination are expressed in these forms, intuition (an aspect of knowing through instantaneous comprehension) and meaning are created. In this way, structure, in addition to solidifying imagery visually, can be seen to contain within its lines, amounts, angles, and directionalities a relationship to meaning that is grounded in its physical characteristics (Langer, 1953).
Art that exploits early vision emphasizes the process’s attributes in regard to the structure, location in space, and directionality of objects, all of which characterize early vision processes. Freshness, immediacy, and clarity are present to an unusual degree. These and other individual attributes and possibilities lead to the proposition that a relationship might exist between art, artist, and preattentive vision, and provide a grounding for understanding when, how, and why this relationship makes itself known in the creations of various individuals.