Even Matisse needed assistance.

We so often believe our inability in visual art is due to our way of seeing the world or our lack of imagination. Rarely do we ever question our physical traits, which allow us to produce art. Eye-hand coordination and fine motor skills are qualities we assume everyone received in life. However, when a student has the desire, the imagination, and a keen way of seeing life, but does not have the physical ability to produce art, how does an art teacher find ways to open up the creative possibilities?

For three years, I have had a student in art class with a form of muscular dystrophy. This condition has affected almost every muscle of Shane's body and has left him with very little strength, some movement with his right arm and hand, and less controlled movement with his left hand. Shane has a full-time educational aide during school hours. She and I discuss his abilities, what his range of motion is, what physical skills he needs to strengthen, and decide if he would be able to work with a certain type of media. We tried watercolor, chalk, modeling clay, papiermache, aluminum foil sculptures, and even snap-together model kits, but his physical constraints kept him from doing most of his artwork.

My art department had recently purchased an airbrush. We thought this might be the answer since the dual action airbrush only needed to be held while a trigger was pushed down and pulled back to allow the air and paint to flow through. Our hopes were quickly deflated when Shane was unable to grip the airbrush. I decided to cut a small hole in a box for the hose to pass through and to allow the airbrush to rest. A small pink pencil eraser was added to the trigger to add weight create a better grip. The impromptu modification showed promise; however, it was obvious there were limitations to the movement of the airbrush.

One of the first lessons I learned in college education courses was to make friends with the maintenance personnel since, these are the people that can make your job pleasant or not so pleasant. I called on a friend who is the school district's transportation supervisor. I had confidence if anyone could make this idea work, he would. We discussed how the airbrush worked and how Shane would need help holding the airbrush. In two days, my friend had a stand for the airbrush made out of a piece of salvaged chemistry equipment, a door spring, and a conduit clamp. After a week of trial and error, observation, and measuring the optimal height to allow Shane's hand and arm to be in the most nonrestrictive, comfortable position, we had a modified airbrush he could use.

Modifications

A small, but possibly the most important modification, was done to the trigger of the airbrush. Shane did not have the strength in his finger to push down on the trigger and at the same time pull back. The end of a cleaning rod for a black powder gun was attached to the trigger using epoxy which provided enough weight to help him.

The second modification was the pedestal to hold the airbrush. We started out with a base with a vertical metal rod holding a five-inch long door spring. To the spring was attached an electrical conduit clamp which had a rubber lining to hold and protect the airbrush. The airbrush was fitted into this clamp and tightened with a carriage bolt and nut. This allowed for good movement of the airbrush, but Shane was not able to control it with fluidity because of the resistance of the spring.

Three more changes were made to the design. The spring was shortened and attached to an old computer joystick. This allowed for complete radial movement. The carriage bolt was lengthened and covered with a protective rubber hose. The carriage bolt became the "steering rod" to be used by Shane's left hand. A small wood ramp was built to raise his left arm up for his hand to reach the steering rod. After more observation, we noticed he needed more grip and leverage. The final tweak was a plastic golf ball added to the end of the carriage bolt.

These last modifications proved to be the ones that made the difference in the whole project.

Final Resolution

Finally, Shane was able to create with the airbrush. An easel, which was made to be adjustable, was placed in front of his wheelchair. Stencils of shapes and various free-form designs were cut out of poster board and long pieces of stovepipe wire were attached to each stencil so that the aide was able to hold the stencil in front of the paper without getting paint on her skin. Shane quickly started to make his own decisions as to which stencils he wanted, where the placement should be, and what colors to put in the airbrush. I quickly dubbed Shane, "Matisse," since in the later years of Matisse's life he had apprentices to help him create his paper cut-out artworks.

Our inability in visual art may be due to our lack of imagination or even desire. However, when a student has those qualities yet is unable to produce art because of physical limitations, it only takes the perseverance and creativity of a few people to make the world of art virtually limitless.

Warning

Ventilation is important when using the airbrush to eliminate inhaling the over-spray of the paint. A spray booth would be ideal; however, this was not available. Since Shane is on a ventilator, he was not inhaling the over-spray. The educational aide wore a mask to protect her lungs.

NATIONAL STANDARD

Students use art materials and tools in a safe and responsible manner.

Lori Leytem is a high school art teacher for the Virden Community School District #4 in Virden, Illinois.