Hey, the submission deadline last week was detailed as the end of February. So I spent the weekend working on this (below) only to find today that the submission deadline has moved! Well, I’ve put the work in so want you to see it. Here below is the supporting material in the format requested.
Given that I have just created a dedicated website to the body of work entitled Paralysis Unseen, I found this invitation for submissions on the theme of subculture and thought it would fit quite well. However the publishers cut short the submission deadline from the end of February to today, but because I had worked up the submission, I decided to put it in anyway. I’m glad I did as they responded by accepting it.
The guidelines were straight forward and so I sent them jpg images of Documented, Experienced, Imagined, Signified, along with the website link and this short synopsis about the work. Here is what I said.
Recent changes in the representation of disabled people have widened from one representing them through the prisms of victims, freaks or in-valids, to some limited photographic representation and interpretation that recognises and acknowledges us as political, sporting, sexual – that is – cultural beings. But representations of disability, as distinct from impairment or disabled people are rare (Hevey, 1992, p12). Accordingly viewers are almost trained to fail to see any connotation regarding disability when the impaired body is not in view, and when it is the impairment appears to dominate the vista. That is one of the paradoxes disability arts faces (Darke, 2003, pp131-141). The result is a type of visual hegemony. This set of images speaks to that fact: disability is a cultural experience borne out of impairment.
Hevey, D. (1992) The Creatures that Time Forgot, Published by Routledge, p. 12
Darke, P. A. (2003) ‘Now I Know Why Disability Art Is Drowning in the River Lethe (thanks to Pierre Bourdieu)’ in Disability, Culture and Identity, Riddell, S. and Watson, N. (eds), Published by Routledge. pp. 131-141