Can artistic intention be conveyed to the sighted while engaging the blind, the colour blind, and the partially sighted?
This line of investigation was developed during reflection on the experiences with the Arts and Crafts Group and the idea of Braille as a decorative element. Brought to mind were Braille’s origin as a wartime secret code along with other images that explore sight and perception. Most importantly in the development of my work was the Ishihara Test for Colour Deficiencies that I took in primary school and its strangely compelling painterly design. As a compositional element, it reinforced secrecy and hidden messages in the interpretation of the Trojan Horse. More importantly, it was the first step using Braille as a symbol or signifier of visual perception.
Double Blind Test Series transitioned the research from Graphic Design for The Blind. It continued the exploration of expressive Braille into twelve interrelated prints. During the exhibition of the print series, one route of study stood out; the use of colour to embed differing messages aimed at those with specific visual colour perceptions.