Data Analysis- Critical Reflection – Coding Memo_047 29 June 2020. David interview - Phase 1

Process and flow of coding ideas:

Phase 1: Familiarising and immersing myself in the data. Identifying initial codes, which include context and deeper understanding or intention. Actively searching and identifying coded extracts that will create cohesive sub-themes in later phases of reflexive thematic analysis.

Initial codes identified today:

Even with physical risk it is important to create ones own artwork

There is satisfaction and autonomy in directing, participating and contributing to the creation of ones own artwork

Autonomy is important

Assistance that is hands-on and immediate, requires an adaptable disposition

With no sight or light awareness at all, assistance are crucial for navigation of workshop space

Other sighted artists make good practical assistants

Up to a point the practical hands-on approach can be possible, even with sight-loss

Personal disposition of optimism or pessimism can be represented in practice

Variations in concept, scale and material are possible with sight-loss

Ready made objects can be assembled in a different way to create something new

Everyday objects can be represented in an original way for reflection

Movement can be represented in static objects to create a sense of animation

Identical objects created in sequential height can indicate movement and passing of time.

Depth and height in negative space can represent understanding of spatial properties

Tactile contact can determine the readiness of material processes

Even with assistance, being autonomous and independent is preferred

Even at risk of physical harm, independence and autonomy of physical process is applied.

There is more autonomy in physical interaction that visual ability.

Assistance is required for visual help and visual display

Mass produced objects are utilised for the purpose of repetition.

For the representation of identical objects to represent time-lapse, mass production is ideal.

Individuality when creating repetitive, sequential objects is not desired. Mass production is ideal for repetition.

3D artwork can capture and represent negative space

3D static objects can capture movement

The negative space around an object is very important for comprehension of the object’s actual physical properties.

With blindness, negative space is equally important, as a partner to positive space.

With blindness, negative space is paramount in determining spatial and physical properties of objects and environment.

A non-sighted artist can still expand practice and not be limited in one medium or approach.

Concrete is a wonderful medium for capturing movement

Stone plaster captures intricacies and subtle, realistic details

Removing a cast allows for a wonderful revelation of negative space

Single colour on a black background makes a focal point for perfume

Cast liquid can indicate the wonderful quality of weight

Perfume companies asked blind people to respond to a citrus perfume

Objects emerging out of the floor represent hidden elements underneath

Archipelago display of objects replicates repetition

Trial and error with materials is best done by the artists

It’s uncomfortable to share the personal process and experience of creating art, with another

Collaborative assistance allows for autonomy

Without sight recognition and perception of colour is informed by memory

Descriptions and previous memories and recollections help envisage colour

Not being able to see colour or ascertain whether the practice output reflects the desired intent is unresolved and will never be known.