Art Spaces Supporting Autistic Artists in NYC: Part II

And on to the second part of my blog, where I met with autistic art centres in and around New York! A reminder that the first part can be read here, and also that the art centres I visited often catered to artists with other disabilities too – so not simply focusing on autism. In addition to the art centres I went to see, I found that there were galleries that supported ‘Outsider Artists’. I’m not sure how politically correct that term is anymore, and whether people still use it, yet I do keep stumbling upon it. One example is a gallery called Ricco/Maresca that champions and showcases the art of self-taught masters working outside the continuum of art history. You also have the American Folk Art Museum devoted to the creative expressions of self-taught artists, past and present. So there really are galleries that support ‘alternate’ routes and means to the arts, as well as the artist’s mental and physical condition, which was very interesting to discover. But back to my list, and here we go with the final two on my list!

Arts Unbound - www.artsunbound.org

These guys are based out in New Jersey and that’s where I had my group exhibition on collaboration, and you can read more about the ‘Women and Autism’ work I did here, and find out exactly what I got up to. it was fascinating stuff! Now, as well as having a studio and two gallery spaces, Arts Unbound work with their artists on the business side of art, which is hugely important. The general process is for the artist to have their art practise and then later for them to be mentored in terms of where their work fits in with the overall marketplace; how they can position their work; how to write an artist statement and generally market and promote themselves. I was amazed at how well-rounded the support is and it all felt like such a well-thought-out concept. They’d really covered everything! And I think it’s hugely important for artists to have business support to supplement their art, because essentially the two go hand-in-hand – without the business element, it remains a hobby. Again, the gallery exhibits extensively and has artist talks. I’d say Arts Unbound are slightly different to the others in that in addition to serving people with mental illness, developmental or physical disabilities, they also serve seniors (with or without disabilities) and have a visual arts education program that is open to the general public.

The gallery space (one of two) in New Jersey 

The lovely Celene Ryan, Director of Artist Development

LAND Gallery – www.landgallery.org

And finally to LAND gallery, who are based in the Dumbo area of Brooklyn, New York. They have a small gallery with a studio space at the back, and support 16 artists with developmental disabilities. I’d say I was most impressed with the connections LAND has – they have artists who have their work used as prints on furniture (e.g. a sofa chair) in shops, as well as other corporate partnerships – not to mention connections with prestigious galleries around the world. It felt that the artists there had tremendous outreach to these opportunities, which is a huge plus. The organisation is run as a non-profit and artists develop their skills in a nurturing environment, while their work is marketed to the community in a vibrant and inclusive manner. LAND artists work with painters, sculptors, fibre artists, animators, designers and others who value creative collaboration.

So that was my round-up! What did you think? It really was an incredible and very humbling experience to visit these art spaces. I felt so in awe and thankful that each and every one of these places exists in supporting artists from the autistic spectrum – and those with other difficulties. I’m so happy with the work they’re doing, as they really do ensure that the artists have equal access to resources and can express their own creative vision, rather than to be isolated and controlled – which can happen all too often in our society.

I’d also like to say a really big thank you to all of these art centres for welcoming me with open arms and warm hearts; to come and visit and explore their organisations, and to meet with their staff and artists. A real honour and privilege – thank you 😊

Art Spaces Supporting Autistic Artists in NYC: Part I

As part of my Arts Council project, I set myself an investigation to visit art spaces around New York that support autistic artists. I’d largely made contact with them before coming to New York, so had a fair idea of what they were about. But then there’s nothing like seeing something with your own eyes and meeting the people that run the place – as well as the artists that attend the centres. So off I went, unsure of how they would match with their sparkling websites.

Firstly, I have to say that I was very much impressed with each of these spaces. They’ve all come from such spectacular and inspiring visions, and have a dedicated team of people who have worked very hard to get them up and running – as well as to make the connections that they have in the arts world. Which is the crucial part really, as we all know – it’s all very well having a lovely studio space, but if the work can’t be exhibited and sold on, then I guess it’s not really fulfilling its purpose in supporting these artists. The talent at each of the places I visited was very high. There was real commitment and the artists were of a high calibre, who were focused on refining their process and style of work.

A lot of these centres supported disabled artists as a whole – so those with physical and mental disabilities, of which included autism, depression, learning difficulties – and many more. Many artists had multiple and quite complex needs. Though what every person had in common was the fact that they’re an artist; it’s what they have a passion for and how they wish to spend their time. And that commitment to the arts was clear. Below is the first part of my visits, with two of the centres I visited, while the remaining two can be read in the second part of this blog, here.

Fountain House Gallery - www.fountainhousegallery.org

Fountain House Gallery provide an environment for artists living with mental illness to pursue their creative visions and to challenge the stigma that surrounds mental illness. They had their first exhibition in 2000, featuring a small group of artists and have gone from strength to strength ever since. They have studio spaces across the New York boroughs where their artists can work from, while the Fountain House Gallery itself sits in a prominent position in central Manhattan.

‘Domicile’ exhibition

What I really liked about them was the fact that they have six different exhibitions a year, of which every artist that is part of their roster, can apply and submit at least one piece of work to – within a given theme. The curator for each show is different, and will blind-pick the works that they like – dependent on their vision - and create a show accordingly.

The gallery based in central Manhattan

The centre has incredible links with professional artists, run a very successful annual auction, as well as taking part in external shows including the distinguished Outsider Art Fair. Artists are involved in educational talks and help invigilate the gallery space via short four-hour shifts. This helps them stay connected and involved with the exhibitions, as well as enabling them to speak with the public directly about their work.

‘Domicile’ exhibition

Pure Vision Arts (PVA) - www.shield.org/activities

Also based in the centre of Manhattan, Pure Vision Arts have a spacious studio area where their artists can work, and this space can be turned into a gallery for when they host private views and other events. It’s the first specialised art studio and exhibition space for artists on the autistic spectrum and intellectual/developmental disabilities. As well as the studio space, they provide art materials, exhibition opportunities, and career development for beginning, emerging and established artists. They seem to limit the number of artists to around 20, simply because of the number of workstations available, and I guess this is something that Fountain House had greater flexibility with (they have around 40 artists). They’re also part of the Shield Institute which means that they’re under an umbrella body of whom run various other art programmes and unique services for clients across New York.

I attended the private view of one of their shows in December and was really impressed! It was very well attended, and the studio also appears to have incredible links with professionals and galleries around the world.

Incredible work by one of the PVA artist's: Barry Kahn

Read on to the second part of my blog for the rest of my round-up!

Actionplay: Striving to Build a More Inclusive World!

I had the joy of being invited to see Actionplay - in Action - quite literally recently. It was for one of their AIMS workshops, which consists of around twenty teens and young adults (13-22 years), on the autistic spectrum (and related conditions), to come along and be part of a 90-minute drama-impro workshop in central Manhattan. The goal of the workshop programme? To encourage greater confidence and increase communication and social skills among attendees.

Based in New York City, Actionplay is a non-profit dedicated to providing children, teens, and adults on the autism spectrum and related conditions equal access to education, arts and culture. Their programmes are open to the general public, and involve creative learning environments, professional development, and training modules to those on the spectrum to experience the arts.

I’d been in touch with Aaron Feinstein, their Executive Director and Founder, a few times and he suggested that the best way to see what they get up to is to come along to one of their sessions. I couldn’t agree more! So there I was, Sunday morning, getting off at Penn Street station and strolling down to the mid-town rehearsal space, not quite knowing what to expect… But intrigued and excited all the same.

Initially, I thought I’d be the ‘quiet observer’ on the periphery - but could not have been more wrong. From the outset I was involved in the warm-up tasks; completely out of my depth as I couldn’t remember the last time I’d even expressed myself in terms of shapes, sounds and movement via my body. It really took me away from my mind though; a place that I’m sure many adults can relate living their lives from. The respite was astonishing. But more so was what was going on around me: the teens and young adults’ enthusiasm and appetite for getting involved. And then there was the talent! These kids were really good. I also found them to be very respectful towards one another – listening well to each other, being quiet when someone else was performing.

The tasks built up in momentum slowly, as the participants got more into them. Music aided these exercises, with Gabriel Lit on the piano entwining apt melodies with the movements. The activities were varied and involved anything from passing a sound around the room in a circle, and adding your own - to giving a 30-second pitch of their ideas for the future Actionplay concert. This latter task was then followed up with the group being split into two, and one idea being picked by each group – creating a five-minute rendition of what the show could look like. Ideas were formulated and explored, people were free to express themselves within the context of the exercises – and most importantly; fun was had and there was a great sense of buoyancy.

And I know that this was all a direct reflection from Aaron and his incredible team of staff and volunteers. There was approximately one staff member to every two/three participants. What I noticed was how dedicated, enthusiastic and compassionate they all were. They would turn up half an hour before the session to ensure careful planning and addressing any updates, while another half hour was given after the session to discuss any issues within the session and to then wrap up and look forward to future sessions. The volunteers came from all backgrounds including teaching and the arts, but the real thing that stood them apart was their passion for accessibility to the arts and their genuine desire to be helping these individuals in obtaining this.

What struck me the most was having this space and programme available, full stop. These teens and young adults have a place to go where they channel themselves, develop themselves and be with others on the spectrum – and to ultimately do something that they enjoy.

It was wonderful and a true eye-opener to attend the workshop. The most surreal thing was that I could tell that each and every person wanted to be there, and there was this real tangible buzz of energy – a great force of positivity, power and intent of creative endeavours. Amazing…

How did I feel after? Well I was quite exhausted and exhilarated – and both in equal measures. Shattered because it was such an intense period of high-intense activity, with different things happening all around – but exhilarated because it was all so thrilling to witness. Exciting in that there was this amazing opportunity for those on the spectrum to come and be a part of – that they could be alongside staff and volunteers who are tremendous, inclusive-centric and truly able to support them. How incredible 😊

A big thanks to Aaron and the team for letting me take part in one of Actionplay’s workshops! Find out more about them on their website: http://actionplay.org/

Felicity House: A Sanctuary for Autistic Women in the Heart of NYC

In my quest to visit autistic charities and spaces in New York, particularly those with an emphasis on art and creativity, I came to view Felicity House after corresponding with the team via email. As I made my way there, through the chaotic and bustling streets of the ever-hustling Manhattan – and truly, I cannot emphasise enough how loud, often smelly, haphazard and all-consuming NYC can be at times. I describe these feelings and experiences in my blog ‘NYC: A Neurodiverse Perspective' – take a read if you’d like to learn more. But here I was. In front of this grand door, on yet another busy street, about to go inside…

The beautiful space inside Felicity House

I could not have more pleasantly surprised with the other side of this door! A beautiful space that instantly felt like home. It had this aura of calm, ease and genuine friendliness - a place of real serenity. Comfortable, clean and quiet - it couldn’t contrast more from the outside world. I was invited in and learnt more about Felicity House. How it’s a non-clinical program for autistic women, living in and around New York. The women travel in from all over: New Jersey, Connecticut and all five boroughs of NYC. There are no geographical restrictions. The space gives women the opportunity to be part of a community and to do and try new things. The only criteria are that attendees need to be female, over the age of eighteen and to have had an official diagnosis for autism. There are no wait times either. Amazing, right..?

The aim of the place is that it acts as an adjunct to the person’s life – so they can fit coming to Felicity House around their life; be it their studies, home or work commitments. Women can come to as many or as few sessions as they like, of which there are normally 10-15 people in attendance. And that’s what I really liked about the place – there are no real obligations or pressure in any way.

What can women do at Felicity House?

They have a calendar of events which they announce in advance and send via email and have on their noticeboard. The events and activities are incredibly varied, intriguing and accessible. They can be anything from movie nights, meditation to paint evenings. Trips outside the house are also organised, for instance there’s a visit to New-York’s Historical Society Museum where members will receive a guided tour of the new exhibit, ‘Harry Potter: A History of Magic’. Another of its aims is to act as a ‘halfway house’ in helping women to try something new and different. It can often be tricky, and hence overwhelming when considering the prospect of trying something new, let alone actually doing it. But by trying it in a safe space, with others in your community that you know, and having it catered towards an autistic audience, helps make things that bit easier. For instance, the house has a Zumba class, and this involves having no mirrors in the room (mirrors are not good for autistic people, who are more inclined to struggle with bilateral movements!), the music is at a much lower volume, and no-one is shouted at or singled out if they don’t get the moves right! Shouldn’t all Zumba classes be like this..?

November 2018's schedule

The art room

How much does it cost to attend a session?

Want to hear the best part about the programme? It’s free. Yes, truly it is. And that’s simply because Felicity House is privately funded. The story of the house itself and how it came to be can be read here: https://felicity-house.org/our-house/house-story/ and is very interesting. The fact that it’s free to attend makes a huge difference. There’s not this infinite number of paperwork, progress reports, goals and all the rest of it that staff have to complete (America is pretty bureaucratic, I’ve found out). And obviously it’s hugely beneficial for the women too. You don’t have to worry about the costs. There’s no elitism. No stress in terms of worrying about the money and having to ration yourself to the number of sessions you can afford. Women can just come and be. There’s no asking for anything more. We need more of these places!

Photo of me: “we need more places like Felicity House where autistic women can simply BE!” I remember saying to myself. It was simply perfect.

What were my overall impressions?

I was very much impressed! I remember walking around and growing quite emotional the more I saw and heard about the space. It’s such a well-thought out concept with rooms that people can go to in and sit in by themselves - to a more sociable lounge - and soft lighting all around. I’m not saying that they don’t have challenges and that it doesn’t always work out, but I felt that what they had was actually pretty damn good. Lesley, the program manager said as we went around “we have this beautiful space because this is what the women here deserve”. And she is so right. We do deserve this. And I really hope that someday I’ll see more spaces like this supporting autistic women; a group that’s very often overlooked.

Has anyone else seen or heard of a similar place in another part of the world? Do drop me a note if you have.

Women and Autism - My Musings

Diagnosed with Asperger’s syndrome (an Autism Spectrum Disorder) three years ago, I chose to embark on a collaborative art project to explore the issues around ‘women and autism’, which I’ve covered here in ‘Women and Autism - A Collaborative Artistic Partnership’. As I’ve learnt more about the condition over the years, I’ve noticed considerable gender differences in perceptions of autism; its presentation and coping strategies between men and women – to the point where women are often misdiagnosed or undiagnosed with autism. I’ve questioned this considerably and the reasons behind it. I feel there’s certainly an increase in recognition in this field of thought, especially from those already with a fair degree of autism awareness - but not so much beyond it. For beyond it still lies a more outdated and stereotypical image of the autistic male. An update and restart are needed.

I’ve summarised my musings in my exploration to consider and understand issues around ‘women and autism’ in a piece of creative writing, with the text transcribed out below the image.

“Men. Why is autism so different in men than in women? Or is it…? Why is the male ‘form’ the accepted norm? the one where people have this ‘aha’ moment and realise that ‘yes sure, I’ve heard of this Autism business!’ and they revert back to TV shows and films. ‘Atypical’ and What’s eating Gilbert Grape’. The media conveying a one-sided view of what is. And-how-it-is. And yet missing out on what oh-so-isn’t… why is Autism so much more apparent and ‘obvious’ in men? We have a subtler presentation they say. But the most dismissive comment of all: ‘Oooh, but you don’t look (how does one look autistic anyway?) autistic.’ How dare you. a compliment you meant? Oh. I’m sorry. I didn’t realise that disregarding who I am and my total being is a compliment. For ‘so what’ if I’m autistic? Poor me…? An all cast set of male actors. Who are unlikely autistic, playing autistic men. In Science, Maths, Psychology. Historically. White men. All making inferences, studies, research, analysis – on Autism. What could they know? Or wish to consider about in female autistics? ‘Autism is Autism’ they say. Why are we misdiagnosed? Misunderstood. Undiagnosed. Why are we still playing catch-up with men? Every field. Yes, it’s unfair, blah, yes. But it’s not a whining point. If women are not being diagnosed, or misdiagnosed, their Autism is not being picked up on. Then this is a very serious point. And a subtler ‘presentation’ doesn’t mean we’re not struggling. That it’s not valid. That it’s less of an issue. That we can somehow seamlessly cope with it, because ‘we don’t look it’! We’re often over-compensating. And that’s hard work! The exhaustion, harshness, loudness, brightness. We feel this. Separate. A cultural gap. Initially misinterpreted as shy. Because women are more likely, at a societal level, to be considered shy… Bollocks. Gender differences. I am of course more than a label. More. But at the same time, this label can be helpful: liberating and empowering. And autistic women shouldn’t be left out here. Leave no-one behind they say. Well mean it.”

And it’s not just ‘women and autism’ that is the issue here either. For there are the differences that exist at a cultural and ethnic level. I’m discovering this more and more as I meet different people from the spectrum here in New York; all of whom have their various backgrounds and histories. Different school systems and state support. And the discussion and musings continue.

What are your views, if any, on ‘women and autism’? I’d be happy to hear to hear from you.

Transitions – A New Collection of Work

I’ve been working on a new series of paintings while in New York, entitled ‘Transitions’. They’ve been produced at my shared studio space that I have at Con Artist Collective, where I’ve also taken part in a group residency show. But what are the paintings about and what was the thought-process behind them? I use this blog as an opportunity to run over the background behind the abstract mark-making.

Inspiration initially started when I spent time in Colombia and experienced first-hand the Venezuelan refugee crisis. Daily, I saw more and more people arriving into the city of Medellin - well over a thousand kilometres away from Venezuela. The mounting horrendity of it all. Overbearing. It got me thinking about movement, changes, leaving home and displacement as a whole. I still haven’t found the right art venture to project my thoughts on the matter, but the situation had me contemplating fluxes in life in general, as I reflected on my own life and the human condition - and ultimately what we all have in common.

Notoriously, we’re all creatures of habits and we don’t often like the disruption of change, especially when imposed on oneself. I explored this with shapes in abstract form and what this resistance would look like through a series of sketches. And then I explored the opposite: natural, seamless transitions taking place – and what this looks like when abstracted into a less literal form.

Painting in the Con Artist Collective studio

Working on Transitions, layer by layer...

Change ultimately happens to all of us; life ensues, things change, it moves, flows, and will continue to do so. And as much as we’re creatures of habits – we’re social creatures too, and we create opportunities through interactions. We’re connected. Each and every one of us. And so we set intentions. Make plans. Our energy is put out into the world. As we set out each day and the sun keeps our time. And of course, the universe, or otherwise, has plans for us.

A lot has changed for me over the last year. Geographically, I’ve been making my way up through the Americas; from South to Central to North America. My relationship to my diagnosis of Asperger’s syndrome has changed. It imbues more of my being, as I’ve come to accept it – and even become empowered by it. It’s a part of my identity. Though from birth, but also just 3 years ago. My understanding of Autism has changed, and I’m aware of issues around gender and minority groups, and those in these groups that are undiagnosed or misdiagnosed. I’m learning more and more. My style of work has changed. The colours, brushstrokes, approach and general inspirations, as I continue to be influenced by those around me and my general environment.

A montage of the final 6 paintings that form 'Transitions'

These new paintings explore the subtle changes of transformation taking place; these little quirks and nuances that occur gradually. To those greater changes in life. Each painting has been built-up over a number of layers and you can see the colours and lines come through them, as you carefully look on. Changes themselves have taken place within each painting. You can see line, shape, form and colour coming through, and this felt important to capture. The upbeat and vibrant palette is a note and reflection that as human beings, we tend to have a position disposition - whether we believe this about ourselves or not. During hardships and tough times, we often look back and consider the learnings made; what we’ve gained, how our experiences have shaped us. And how we’ll cope better next time. We stock up.

Exhibiting Transitions I and II at the fall residency exhibition in New York

There’s also a great deal of rhythm and rhyme which can be viewed and felt within the paintings. Movement. The black lines show this as they weave in and out; in front of and behind the scenes of life. There are stops and starts. Sometimes it’s stilted. It’s not what we expected. But we keep on. On our path. For come what may. Such is the human spirit. For transitions are here.

If you’d like to see each painting in more detail, please visit the gallery page: https://www.mahliaamatina.com/art-gallery

Neurodiversity and the Arts - Arts Council Funding received to go to New York!

I am tremendously excited. For just a few days ago, I found out that I was successful in my funding application for the Arts Council’s ‘Developing your Creative Practise’ (DYCP). This is a new piece of funding, which started earlier this year, and gives artists of all forms the opportunity to try something different with their practise - and to ultimately have the opportunity that they wouldn’t otherwise have.

How did I get this, and what were the steps I undertook to create the proposal? Well, this blog will run through my process and hopefully make it clearer to those of your who are also looking to apply for similar funding. One that I would totally encourage, by the way!

So firstly, my artistic aim is to ‘create arts led advocacy work around neurodiversity that openly translates a positive message in impactful yet accessible ways’. I feel that by identifying your goal in the long-term is a great place to start. I then researched and found that to get closer to this objective, I would need to: build new relationships, receive mentorship and collaborate with other autistic artists - in a place that is progressive and leads the way in terms of the neurodiverse arts scene.

Me giving a talk at my autism-friendly and multi-sensory exhibition ‘Around the World in 80 Washing Lines’ 

In terms of the arts and neurodiversity, the United States is considerably advanced and progressive. For instance, it has more art centres and galleries that work with and support neurodiverse artists. Additionally, there is a higher concentration of neurodiverse artists based in the US, especially in/around the state of New York. My findings highlighted that New York City would be an ideal location and base to implement this step change in my working practice.

So, with my goal and location identified, I set to work in terms of researching and identifying potential opportunities. These included, for instance; meeting with influential people (who I emailed and set up meetings with), visiting neurodivergent arts centres (again emailing them to explain I’d be visiting) and the chance to lead workshops with autistic artists (also organised upfront) – all of whom I hope will be my collaborative partners for the next chapter of my artist career. I also researched and found artists who were willing to be my mentors during this time – both an exciting and rare opportunity. You may notice that I emailed and told these people/organisations that I’d be coming to New York. And that’s another key – believing you’re going. This way, the relationship builds regardless – and you’ll already be gaining.

One of the best pieces of advice I have to anyone applying for Arts Council funding is to attend a one-to-one surgery session in your area to meet with an ACE representative to talk your project through with. Having the chance to ask questions that are specific to your project is completely invaluable. You get to hear what the counterargument might be and where your focus should lay – especially when there is a strict character limit to adhere to. This, I believe, has been pinnacle in me writing a strong, focused application.

I also find it helpful to give my form to one or two other people and get their opinion. But just make sure it’s someone who understands you in terms of your artistic goals and your work. And of course; to come back to your application after a few days, or even weeks, after working on it. Like with my paintings – there’s nothing like a fresh set of eyes! Plus, with the way our minds work, they’ll always be thinking and working on the application in the background – very helpful while you crack on with everything else you have to do as an artist 😉

And finally: always get feedback if you don’t receive the grant. Even with this DYCP application – you can still phone up and ask - because it’s this feedback that will enable you to come back stronger next time round. This is what I did last year when I was initially turned down for funding for my #80WashingLines project. And I came back with a mightily amazing application the second time round - and received the funding!

So, let’s see where this opportunity takes me. At the very least it will set me on a journey of exploring my art practise within the context of collaborating and connection-making – all in a direction that is different to my typical art practise, yet still key to my art messaging. I’ll be writing up my findings in regular blog posts, so do please keep coming back to see how I’m getting on.

Until the Big Apple! 😊