Sensory accessibility in contemporary art practice : from clichéd representation to immersive accessibility in the sensory experience of art

Abstract

The aim of this thesis was to critically investigate accessibility in the field of visual art, a domain historically dominated by aesthetic experiences that priori-tise sight. From the perspective of individuals with sensory disabilities, tradi-tional art forms often remain exclusionary; Although galleries have increasing-ly addressed physical accessibility, the artworks themselves rarely accommo-date diverse modes of sensory engagement. To address this gap, the thesis draws from interdisciplinary sources—including art history, neurology, and ac-cessibility policy—to understand the mechanisms of sensory processing and the broader implications of inclusive design. Particular emphasis is placed on how sensory impairments alter perception and how art can be reimagined to accommodate these differences without diminishing its expressive power.

The thesis surveys the historical and societal roles of art, illustrating its deep cultural and psychological significance. This is followed by an overview of ca-pacity of differently abled individuals and its relationship to art perception. The second half of the thesis turns toward global trends in accessibility—both in the arts and in broader public infrastructure. It examines how multisensory art is being presented in contemporary contexts and redefined the role of the au-dience from passive viewer to active participant.

The thesis details the author’s own multisensory project, outlining the rationale behind each sensory component and how they were developed in accordance with neurological insights to ensure that the absence of any one sense does not prevent a meaningful experience of the artwork. Ultimately, the thesis ar-gues that the underrepresentation of disabled individuals in art spaces is not simply a matter of personal circumstance but the outcome of complex structur-al inequities. By centering accessibility in artistic practice, the thesis positions inclusive art as a meaningful intervention—one that can reframe how partici-pation, audience, and the social role of art itself is understood.