Chuck Baird Paintings American Sign Language Art Chuck Baird

	Chuck Baird , Fine art No. 2, 1994, Acrylic, 24" x 30" (Courtesy of Jaime Harter) This is the second in the " Art" Series, the first of which is on the comprehend of his book "Chuck Baird, 35 plates." These are crisp illustrations, seemingly drawn in mid-air, of the sign for "artist," a concept that is essential to Chuck. "Art is my whole life. When I sign 'art', a ray of calorie-free represents the ray of Hope. Those flying objects in front of myself stand for my diverse mediums." In the kickoff painting, the sign is seen from the viewpoint of the signer/artist, but in the nowadays work, information technology is seen from the viewpoint of the receptor/viewer. Art No. 2 was chosen for the tour poster.
	This drawing of hands with chains on wrists, and fingers chopped off depicting that Ameslan or sign language is prohibited in many schools for the deaf. "Much of my work depicts the Deaf experience expressed in the almost appropriate grade of communication: visual art.  I present both the suppression, and the dazzler of Deafened Culture and American Sign Language as I run into it; in the past, and in the present.  I hope this work, and the understanding that may arise from this visual expression, will help bridge the gap betwixt the Deaf world, and the hearing world."
	This work is a composition of heads, the details of which are named subsequently primal sounds. The relationships inside it tell a wordless story of a deafened experience: from an awakening to 1'due south sense of cocky, through a struggle for footing in the hearing earth, to an affirmation of ane's wholeness and an credence of the journey to come. The group relates on many levels. As a whole, it represents a tale: it begins with the head "ooo.."representing the point of embarkation with consummate and serene acceptance of ane's deafness, showing enthusiasm and anticipation with none of the negative connotations imposed by society. The next caput, "ahh..," represents a deafened person in the greater world, whose struggles in that globe are neither heard nor comphrended. The adjacent 4 heads, "err.." "ege..," "mmm�," and "uhh..," tell, respectively, of the retreat into oneself in the face of the inherent limitations to the deaf in the hearing world, of the realization that one is facing a trouble, and looking for an answer, of coming into awareness that there is nil wrong with oneself, that there problem is out in that location and one is whole, and of a brave merely perturbed outlook on the journey ahead.
	Ann Silvery , Deafened Identity Crayons: And so & Now (Crayon Box Serial), 1999, Mixed Media, twenty" w x 16" h Centuries agone Deaf people were a box of crayons, not human beings. Through the 20th century has witnessed shifts in terminology, the painstaking removal of poisonous power from archaic descriptors accorded our unwitting community is far from finished. Every bit such, nosotros must not let others to define who we are, how we should be identified, or what is semantically apropos for us. The SEEING crayon is a tribute to the belatedly John Darcy Smith, one of the proponents of the Deaf Art Movement. During the Sixties, he waged an unsuccessful word-conversion campaign at a fourth dimension when political definiteness has non become fashionable. His reasoning was that if humans who depend on sound are called "hearing" people; others who rely on sight should too be labeled "seeing" rather than "hearing-impaired." [For the uninitiated: CODA stands for child of a Deaf adult or Deaf parents] Copyright © 1999, Ann Silver
	This is a homage to deafened children who attended the Wisconsin Schoolhouse for the Deaf before the 1900s. Too, the painting is open to whatever interpretation as there are symbols at display within the diptych.
	This work is expressive of feelings typical to isolated Deaf children living with non-Signing hearing families. The faces of the other members of the family are blurred, likening the experience of lipreading to the experience of listening to a TV program disrupted by static. The deaf child, who wears hearing aids, is made analogous to a family pet that is patted on the head while being told "Good girl, good girl.".
	Orkid Sassouni , Existence Deaf and Complimentary Spirit, 1998-99, page ix from book of blackness and white photographs, 3.5x4.v This photograph is i example selected from the 27 in Orkid Sassouni'south  8" ten viii" anthology. It portrays two Deaf persons signing in a nightclub/bar setting.  In this photograph, blurs betoken easily in motion.  The photograph also captures facial expressions in the middle of a signed chat, which showing clearly the earnestness of the signer. The signer is expressing emotions freely and sharing her life with her friend. Hearing people who participate in Deaf customs activities have commented that closeness and kinship between Deaf persons are stronger and more obvious than amongst hearing people. This is a reminder of the times when Deafened people were reluctant to sign in public because of the stares they would get from hearing people. This has changed dramatically over the past twenty years because of the public's changing perception of sign language and Deaf people.

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