HELD, Tangled Arts + Disability 

        Tucked away at 401 Richmond, is a particular exhibition presented by Tangled Arts + Disability, I’d argue it’s one of the most intriguing pieces featured at the moment. According to their website they’re redefining art to become inclusive to all, specifically working with artists who have disabilities, promoting them and allowing more accessibility in the gallery space. Unlike most of the galleries even within 401 Richmond, there was a variety of effort placed in to give accessibility for all audiences. The first step with the rough squeaky exterior of 401, mixed in with the vibrancy of the white cube space is ironically well suited in this case. Especially while being mindful of the organisation’s intentions towards accessibility, is the squeaking truly an inconvenience for everyone? Personally I was curious, it may bother me, but if someone who was deaf entered they most likely wouldn’t be bothered, whereas someone visually impaired may find it more useful to follow along the exhibition. Tangled Arts didn’t intentionally create the space to be old and frigid. However I felt it added to the charm and questioned how certain sensitivities may actually be beneficial towards others’ experiences while interacting. 

      The exhibition HELD, presented by Tangled Arts + Disability features two collaborative pieces. Suspended across half the ceiling lay 400+ white textured shell like bowls created by Anna Camilleria, appropriately tilted Carry Hold Release. Dynamic interactive ceramic mosaic pieces are mounted apposimh Anna’s work, these 18 tiles are created by Wy Joung Kou, titled What We Have Always Dreamed Of. Both artists use different techniques to illustrate a powerful mystical experience. Whilst walking through, I was pleasantly pleased that Tangled Art’s actually recommended touching, holding the artworks to fully immerse in the experience. Although they recommended wearing gloves and provided cotton gloves, the experience remained satisfactory. There was a shocking static sound when pulling across the mosaic pieces, specifically with Kou’s What We Have Always Dreamed Of. Kou uses broken piece of plates, glass and porcelain to create images of illustrated hands touching marbles and broken objects. The irony of these hands touching broken objects, while in an abstract mosaic form made me laugh a little, causing some of the staff to look at me. Kou also had several other mosaic works, one appeared to be made of glass resembling two hands holding a bowl, and utiles on the foreground, the colour scheme consistently holding greens, blues, yellows, whites and flesh tones. Large pebbles were cemented down on these platforms while visitors explored the space, looking as if they were elevated tables, some shaped like a crescent moon or circular swirls. All featured by Kou, who as I dove into my research specialises in ceramics and mosaics, able to produce sensory friendly and engaging work.  

             Kou’s work heavily focuses on the concept of touch, specially with the hand places of the bowls and plates that are commonly featured in several of the mosaics across the gallery as a common theme the usage of hands in the visual video at the back of the gallery also dives into this concept of touch. Following the theme of touch, even pieces that were meant to be touched may have been outlined with little plastic nubs around the pebbled tables. Appearing to help those with visual impairments not bump into art objects, unlike traditional spaces where art tape or some sort of barrier would be implemented. Theme of touch however does not stop here, as the 400+ bowls suspended beautifully in the air and paired with visuals of a lake and a shadow of what appears to be ASL gestures sped up. Enthusiastically the artist Camilleria recommends holding the bowls and perhaps leaving notes or specific items inside as well. If a visitor doesn’t have anything to personally place, another option is to email the gallery and virtually interact or leave notes. Allowing a symbiotic interaction between the artist, viewer and gallery beyond physicality or touch as the theme continues. 

         Carry Hold Release, beautifully illustrates shells bouncing with shimmering lights depending on the angle of the video screen and the object. The viewer is encouraged to hold onto them (with the cotton gloves of course) and gently release the objects, perhaps even placing  a sentimental item or note inside. Just as Kou’s mosaics present hands holding onto objects, it’s as if we reenact those images through Camilleria’s bowls, holding them, cherishing them and eventually letting them go. Some appear to be broken as well, and I’m unsure if it’s due to rough handling or intentional, but it feels like too much of a coincidence to not be purposeful as it reflects Kou’s beautifully created pieces of broken plates and fixed pieces. The ASL like gestures in the video, also reflect that of the brief information in the start of the exhibition, where an interpreter uses asl to translate the writing as well. At first viewing the video, the shadow increases in speed, appearing animalistic. Feeling as if it’s part of a video game, the hand movements mimic that of the ASL as well as the other works provided, a small Easter egg treat for the viewer to capture. Not to mention the several hints and usage of braille throughout the art pieces and information desks. 

           The push for inclusivity blew me away, perhaps other mainstream galleries will follow the lead of Tangled arts. Even the smallest details of braille in the zines, info cards and anywhere and everywhere were so mind blowing to me. In the business of museums, galleries or alternative spaces, the care is always insincere to me. However even throughout the hallway, inside the office space and the gallery itself, every turn I turned there was something in place to help with accessibility. Including signs requesting visitors to wear masks to protect those with invisible disabilities, they even provided masks themselves as well as the gloves to go through the exhibition. Their safety protocols, to inform visitors to consider others, was so mindful and ahead of what I’ve seen from anywhere else. I truly feel like Tangled Arts + Disability, will continue to fight for visibility and keep producing amazing works. The invention and care is beyond the current standard, and should be the bare minimum all institutions should strive for.

 WorkCited

“Held.” Tangled Art + Disability, tangledarts.org/whats-on/held/ Accessed 26 Nov. 2023.