Behind the lines and lines and lines: student studio solutions to projects that facilitate the exploration of visual and textual languages within fine arts practice

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Whatever helps learners with special needs can indeed be of help to all learners. (Race 2005: 159) </disp-quote>

The work illustrated in this paper represents students who have responded to projects and studio workshops that address notions of reading, as opposed to looking at imagery and looking as opposed to reading texts. Active learning is viewed as a means of engaging with projects developed to facilitate enquiry into handling texts as artwork and artwork as text. I am not advocating any formula for working with dyslexic students or students defined within the above remit for Widening Participation. I do not claim any specialist experience about dyslexia, but I am attempting imaginative solutions to students' individual personal struggles in studying and practicing in the Arts. Using a Constructivist teaching model, whereby I hope to facilitate learning rather than to teach, and students are encouraged to respond to, and adapt projects which will inform the curriculum content of the subsequent student cohort. Docendo Disco: By teaching I learn (Grayling 2006: 226) is the philosophy that supports the ongoing development of work in this genre. Each academic year, student's responses to work using text inform the curriculum content for the following student cohort. Student evaluation and comment genuinely informs the developing curriculum in an effort to reflect what students perceive to be relevant and useful. Specific examples of student artwork, which challenge the perceived stigma of dyslexia, will be discussed. Encouraging students to use their primary personal understanding of the condition to confront it is central to the theme of dyslexia as personal experience. It is important to note that whilst I am aware of our dyslexic cohort and of Widening Participation agendas, curriculum development is for the benefit of all our students.

The individual case studies presented are done so with the consent of all graduates of York St John University whose work is represented and with the understanding that their work frequently addresses individual experience of diversity or difference. The work will provide a forum for future discussion. Art can empower and enable students to confront and challenge their unique contribution to a University community. The results are often exciting and can stimulate reflection and discourse for curriculum development within Higher Education Faculties.