Aminder (born in West London, UK 1989) graduated from University of Westminster in 2012 with First Class Honours in BA (hons) Mixed Media Fine Art.
You can find more of my work, video links and more information on my website.
The distinction between art and life is obscure; due to this my work continuously entwines its way through various aspects of my life and vice versa. In this sense, my every day is infused within my work. As an artist, my interaction with materials, mediums and space is entirely dictated through the progression and routine of my physical impairments.
Within my practice, I aim to question and explore ideas based upon marginalisations, predominantly disability discrimination and the very existence of the ‘norm’.
I think of my work as an ongoing investigation subverting the representation of disability; however, I traverse between other classifications of the population that intersects disability, such as class, sexuality, race and domesticity. Even though these factors are integral to the foundation of my practice, I use the exploration of identity and self-perception to penetrate the social, political, physical, personal and philosophical notions attached to the term ‘disability’. Thus, my practice takes on an interdisciplinary approach to stereotypes.
View my Artist CV here.
Images allow for ‘aesthetic distancing’; the gap between the spectators conscious reality and the fictional reality they are presented with.
The implication enables the audience to feel safe once the visuals are perceived as fabricated –the ‘if it’s not real, then I don’t have to worry bout it’ attitude based upon the disability simulacrums (an image or representation of someone or something, a ‘copy’ without an original).
Is the unacceptability of an image based on the image itself or the ‘image’ within the image?
An image can be associated with the 'diagnostic gaze'; the question that demands a narrative which seeks to affix a diagnosis to an individual. This is heavily related to the archaic Medical Model of Disability.
Jean Baudrillard believed the simulacrum is a dangerous state as it can over exert images that we will then live by in order to anchor social reality. The hierarchical connection between the ‘Real’ and its representations are subverted, the simulacrum occurs when the ‘Real’ has become an archaic division, therefore no ‘Originals’ exist, and “we live in an endless string of references, discourses, images.”
By fracturing my own anonymity and disguising myself with another story that demands a visual answer, I am inviting the stare into the video. Using ideas surrounding appropriation and theatricalisation (of the everyday) as a trait help blur the line between 'able-bodied' and 'disabled', I attempt to isolate the proscription against staring by exposing the impairment, and the culturally oppressive narratives, about disability that the proscription attempts to politely silence.
I seek to violate the aesthetic distance between the viewer and the work of art to claim the misconceptions surrounding the cultural process.