By Julia Kellman

Instead of drawing close the paintings of precocious younger artists with autism as enigmatic and symptomatic, their paintings is explored as having its beginning in human body structure and within the intrinsic human want for that means. The narrative photos in those younger artists' unheard of paintings function either proof and concentration, permitting us to work out the commonalities of all artwork and image-making. No artwork has been thought of extra enigmatic than that of kids with autism, for his or her frequently tremendous early drawings intrigue audience with their bright, visually-based, viewpoint emphasis.Such paintings, frequently spontaneously produced by means of artists often thought of retarded, is hard to appreciate in the traditional constructs of drawing pedagogy that emphasizes the need of perform and adventure for mastery. besides the fact that, it's a necessary technique of expressing one's inside self and of sharing with others a story of one's personal production. ultimately, this expression types enduring hyperlinks with people within the universal human language of traces and types.

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Additional resources for Autism, Art, and Children: The Stories We Draw

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Nonetheless, it is likely that some individuals have a brain that emphasizes particular aspects of their vision process because of innate capacities or variations in a manner similar to the way in which some people have perfect pitch, great sensitivity to touch, excellent fine-motor skills, or a sensitive digestive system. These variations may well spell part of the difference between one artist’s vision and another’s and a baseball player’s eye and a printmaker’s. Since the brain is not a library of perfectly preserved color slides, several things must occur before one can identify an object in the visual world, according to Marr.

Examples include both repetitions of shapes and repetitions of contrast that “elaborate an event or object” (p. 115). Repetition as a structural device is also important when we take part in what Zurmuehlen (1990) calls the underlying condition of making art: “[a]s originators, transformers, and reclaimers, we participate in the sense of . . once . . now . . then . . that shapes our individual and collective life stories” (p. 65). This simple phrase “ . . once . . now . . then” can be understood to be the most basic form of narrative and of implied repetition, one that we all use to relate our life experiences.

21). Most significantly, Grandin reports that personal relationships themselves “made absolutely no sense to me until I developed visual symbols of doors and windows” with which to visualize the give and take of social interaction (p. 34). The many livestock facilities she has designed bring together all of Grandin’s various skills, lifelong interests, and personal abilities, twisting them into a long strand of personal narrative, for it is within these structures that she finds meaning for her life that honors the best within her and utilizes her considerable skills.

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