The experience of visual mental imagery - seeing in the mind’s eye - varies widely between
individuals, but perhaps because we tend to assume our own way of thinking to be
everyone’s, how this crucial variation impacts art practice, and indeed art history, has barely
been addressed. We seek to correct this omission by pursuing the ...
The experience of visual mental imagery - seeing in the mind’s eye - varies widely between
individuals, but perhaps because we tend to assume our own way of thinking to be
everyone’s, how this crucial variation impacts art practice, and indeed art history, has barely
been addressed. We seek to correct this omission by pursuing the implications of how artists
with aphantasia (the absence of mental imagery) and hyperphantasia (imagery of extreme
vividness) describe their working processes. The findings remind us of the need to challenge
normative, universalizing models of art making and art maker.
