When I was an art school student, I was trained to pursue the likeness of subjects in all
my artworks. This practice-based research explores alternative forms of self-expression in art
practice. The exploration starts by questioning the relationship between perceptual devices,
artists’ perceptions and artistic production. Most perceptual devices are designed to enhance
artists’ sensory capabilities and facilitate the creation of art. Their success is often based on
enabling artists to achieve a likeness of the subject drawn or making the creation of artefacts
easier. My research focuses on investigating the consequences and artistic potential of
applying sensory distortion devices that confuse, mislead and distort artists’ vision and
kinesthesis, increasing the difficulty of making art, and exploring the productive potential of
such devices to engender new creative forms.
In this research three visual distortion devices and two kinaesthetic distortion devices are
prototyped and used in experimental calligraphy, painting and drawing exercises. After
analysing the artists’ experience of using these devices, the influence and artistic potential of
applying them are examined. It is discovered that distorted vision and kinesthesis can greatly
influence the making of art by disrupting habitual eye-hand coordination and control over
producing artefacts. Besides which, the use of visual and kinaesthetic distortion devices can
be a technique for new forms of artistic expression. It can also be an effective technique for
creating serendipitous opportunities in the visual arts and a way of exploring and provoking
reflection upon artistic methodologies. Consideration of the attributes of visual and
kinaesthetic distortion devices and distorted perceptions during the process of prototyping can
benefit the generation of ideas, methods of production and the contents of artworks.
Some practical implications for creating art with visual and kinaesthetic distortion
devices are also explored. They are discussed in relation to theories of human performance,
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such as flow theory, and attitudes toward the conflict between habitual and unfamiliar
perceptual experience. Keeping an open and uncritical mind toward unfamiliarity, chaos and
the accidents caused by distorted perceptions and reduced control of drawing instruments is
suggested to working artists. Finally, this research contributes to art education by
demonstrating a possible way of achieving self-exploration through art making.
