Doing Disability-mobility Research through Creative Practice: Participating in a Community Art Exhibition

Asphyxia,; Harada, T; Waitt, G

Doing Disability-mobility Research through Creative Practice: Participating in a Community Art Exhibition

Asphyxia, Harada, T

Waitt, G

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Publication Type:: Journal Article
Citation:: Mobility Humanities, 2024, 3, (1), pp. 68-81
Issue Date:: 2024-01-01

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Field	Value	Language
dc.contributor.author	Asphyxia,
dc.contributor.author	Harada, T https://orcid.org/0000-0002-9687-556X
dc.contributor.author	Waitt, G
dc.date.accessioned	2025-04-17T06:23:13Z
dc.date.available	2025-04-17T06:23:13Z
dc.date.issued	2024-01-01
dc.identifier.citation	Mobility Humanities, 2024, 3, (1), pp. 68-81
dc.identifier.issn	2799-8118
dc.identifier.issn	2799-8509
dc.identifier.uri	http://hdl.handle.net/10453/186922
dc.description.abstract	This paper builds on the work in the fields of mobility and art to discuss the contribution of an ongoing collaboration between a self-identified queer, Deaf, and disabled art practitioner, Asphyxia, and two non-disabled geographers. The paper captures our collaboration in the context of a participatory art project and exhibition called Wheel-Ability aimed at addressing everyday ableism and accessing public space. We draw on the concept of kin-aesthetics in creative practice and online/digital conversations to understand powered wheelchair movement and advocate for mobility justice. Our discussion is structured into two sections: questioning creative practice and advocating for mobility justice. The first discusses how Asphyxia’s creative practice aim, as a visual artist, is for self-expression and to connect with others through the experiences of viewing her art. The second offers a collaborative critical analysis of two paintings Asphyxia contributed to the exhibition titled: Sorry, the Lifestyle You Ordered Has Expired and The Frustrations of Horizontal Living. Through collaboration with disabled artists, creative methods can enhance the appreciation of the sensory in shaping the reciprocal relationship between mobility infrastructure, self, journeys, and mobility justice.
dc.language	en
dc.relation.ispartof	Mobility Humanities
dc.relation.isbasedon	10.23090/MH.2024.01.3.1.005
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Doing Disability-mobility Research through Creative Practice: Participating in a Community Art Exhibition
dc.type	Journal Article
utslib.citation.volume	3
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Business School
utslib.copyright.status	open_access	*
dc.rights.license	This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0). To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/
dc.date.updated	2025-04-17T06:23:11Z
pubs.issue	1
pubs.publication-status	Published
pubs.volume	3
utslib.citation.issue	1

Abstract:

This paper builds on the work in the fields of mobility and art to discuss the contribution of an ongoing collaboration between a self-identified queer, Deaf, and disabled art practitioner, Asphyxia, and two non-disabled geographers. The paper captures our collaboration in the context of a participatory art project and exhibition called Wheel-Ability aimed at addressing everyday ableism and accessing public space. We draw on the concept of kin-aesthetics in creative practice and online/digital conversations to understand powered wheelchair movement and advocate for mobility justice. Our discussion is structured into two sections: questioning creative practice and advocating for mobility justice. The first discusses how Asphyxia’s creative practice aim, as a visual artist, is for self-expression and to connect with others through the experiences of viewing her art. The second offers a collaborative critical analysis of two paintings Asphyxia contributed to the exhibition titled: Sorry, the Lifestyle You Ordered Has Expired and The Frustrations of Horizontal Living. Through collaboration with disabled artists, creative methods can enhance the appreciation of the sensory in shaping the reciprocal relationship between mobility infrastructure, self, journeys, and mobility justice.

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http://hdl.handle.net/10453/186922