After having gone nearly completely blind, there was a certain amount of pride in the fact that at least, photography still worked for me, and that I still considered myself to be a photographer, and a blind photographer at that. I also need to say that I don’t have much visual input. Not enough to see my own work, and not enough to have any spatial perception. That is perhaps the hardest thing, as a photographer, for me, to have lost space and the ability to review my own work consistently. There are moments, someone is kind enough to go in depth on others’ photographs, for instance at shows, but these are far and few between. Last month I exhibited in Geneva, together with my co-artist, Laetitia Boulud, seeing, who is likewise a photographer. My photographic output has been declining throughout, now, after Geneva I don’t even pick up the camera much anymore. I used to shoot my iPhone a lot, because it was so convenient. Now there seems to be a disconnect: no desire to make photos, although i’ve become more interested in tactile and auditive objects as an expression of my art. I guess this has to do with how I’m becoming increasingly “blind” instead of simply “non-sighted”.
I think that for a blind person there is no intermediate space. Things are either there or they’re not there. You know, you are walking along the road and suddenly a tree hits you smack in the face. It wasn’t there a minute ago — now it’s there. Of course that would be unimaginable for a sighted person, who would just never walk straight into a tree.
Says John Hull in his auto biography “Touching the Rock”.
That non-existence of intermediate space, is something that the brain has to adapt to, and adapt it will. So much so, that I think that this is the cause of my photographic stagnation: as the perception of space disappears from my way of knowing the world, it can’t be expressed by the medium that is the eminent expression of that: photography. So after fading gradually away, photographing has now all but ceased to be a means of artistic expression for me. Sound is, and time based things perhaps can be, and tactile objects, but that’s developing, and it’s groping at the moment. I wish there was a “blind multisensory artists” group, like there is a blind photographers group.
It’s a struggle, and an experience of profound loss. Maybe my main mode in art is the photographic, because I start from the fullness of reality that’s in front of me: that is the input for my thought process. But no longer, or not at the moment, for that delicious click of the shutter, the moment of capture, because it has started to mean Nothing.
Postscriptum: I lifted the John Hull quote from an essay by composer Darren Copeland, titled Associative Listening. In that essay, there is this tantalizing passage:
Without conscientious efforts to approach environmental sounds with some imagination and a sensitive social awareness, the language for coping with the everyday sound world will remain crude and ineffectual. If sound shapes people’s experience in the world, than a vocabulary for documenting this interrelationship needs to develop. John Hull provides one example. He hears a sound around him. It affects him in a certain way. The impact on his mind leads to a chain of related thoughts and musings. He then records these thoughts into a Dictaphone and later shapes them into a piece of writing. The whole process in my opinion is informed by associative listening. On the basis of such listening can one ever approach the enormous task of reading the acoustic environment as a record of social experience?
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