Beyond Sight: New Exhibition Challenges “Ocularcentric Bias” in UK Art Galleries
A groundbreaking exhibition opening in November aims to redefine art accessibility, advocating for tactile experiences and challenging long-held assumptions about how art is perceived.
A significant shift is underway in the UK art world, with a growing movement to make galleries and exhibitions accessible to blind and partially sighted visitors. This push for inclusivity culminates in “Beyond the Visual,” a landmark sculpture exhibition set to open at the Henry Moore Institute in Leeds this November. The exhibition, uniquely curated by and with the input of blind and partially sighted artists, seeks to dismantle the pervasive “ocularcentric bias” that has historically dominated the visual arts.
A History of Exclusion
For too long, the art world has operated under the assumption that visual perception is the primary – and often only – way to experience art. “One of our aims of the project is it brings about institutional change,” explained a co-curator of “Beyond the Visual,” Prof Ken Wilder. “We want to challenge that ocularcentric bias that’s just really embedded within the art world, which means for most sculpture exhibitions, you can’t touch the works.” This restriction inherently excludes a significant portion of the population and limits the potential for a richer, more diverse understanding of artistic expression.
Tactile Engagement: A New Paradigm
“Beyond the Visual” directly addresses this issue by prioritizing tactile engagement. The exhibition will feature a mix of both established and contemporary sculptures, with a focus on providing opportunities for visitors to touch the artwork. Dr. Clare O’Dowd, research curator at the Henry Moore Institute, detailed the institute’s evolving approach: “We ask now for tactile objects. If we are working with a living artist, we’ll ask them for objects or materials that we can use on ‘touch tours’ … maybe a maquette or some material that the artists use, so that you can get more of a sense of the object itself.”
This emphasis on tactility isn’t simply about accommodation; it’s about expanding the possibilities of artistic interpretation. Dr. Aaron McPeake, a blind artist and co-curator of the show, highlighted the broader benefits of inclusive design, a concept he terms “blindness gains.” “You get announcements on buses and trains signalling what the next station is. That was primarily instigated for blind people, but now everyone uses it so they can read their book and still know when the stops coming up. Those kind of accessible instruments are used by everyone, and they benefit everyone.”
Featured Works and Artistic Inspiration
The exhibition will showcase compelling works like Lenka Clayton’s Sculpture for the Blind, by the Blind (2017), a piece that ironically reimagines Constantin Brâncuși’s Sculpture for the Blind – a work that is, in its original form, inaccessible to touch, housed behind glass at the Philadelphia Museum of Art. Clayton collaborated with 17 blind artists to create variations on Brâncuși’s concept.
Other featured artists include Emilie Louise Gossiaux, whose Doggirl (2025) is an “anthropomorphised ceramic sculpture” inspired by her guide dog; Jennifer Justice, with her “highly tactile hanging installation” Bucket of Rain (2017); and Collin van Uchelen, presenting Project Fire Flower, a series of illuminated tactile panels.
A Legacy of Accessible Art
“Beyond the Visual” builds upon a history of efforts to engage blind audiences with art. Landmark exhibitions like the Tate’s Sculpture for the Blind in 1981 and Revelation for the Hands at Leeds City Art Gallery in 1987, which explicitly invited visitors to touch the artwork, paved the way for this current movement. More recent initiatives, such as In Plain Sight at the Wellcome Collection and Layers of Vision at King’s College London, have further explored the relationship between art and perception.
Early 20th-century “touch” exhibitions at institutions like Newcastle Upon Tyne’s school for the blind offered educational and therapeutic experiences. However, McPeake cautions against framing art created by or for blind individuals solely as therapeutic. “Often artwork for the blind, or by the blind, is considered as a therapeutic thing. But in fact, there’s a lot more going on there,” he stated.
Henry Moore’s Tactile Legacy
The exhibition also draws a connection to the work of Henry Moore himself, whose sculptures were deeply rooted in tactile exploration. Dr. O’Dowd explained, “He always championed touch as a really critically important way of engaging, not just with sculptures in their final form, but engaging with the objects that he’s using to inspire him.” Moore’s workshop was filled with materials – wood, stone, fossils, bones – all valued for their tactile qualities, demonstrating a profound understanding of the importance of touch in the creative process. His work Mother and Child: Arch (1959) will also be featured in “Beyond the Visual.”
“Beyond the Visual” represents more than just an art exhibition; it’s a call for systemic change within the art world, advocating for a more inclusive and accessible future where art can be experienced and appreciated by everyone, regardless of their visual ability.
