An Interview with BETSY HERSHBERG: Creative Explorations in Bead Knitting

Photo by Alexis Xenakis, XRX Books, 2012

 

Betsy’s art is the product of meticulously and artfully combining fibers and beads. A self-declared “left brainer”, she masterfully demonstrates the technical marriage between these elements with knitting and creativity.

I understand that your mother taught you to knit when you were 8 years old. Then fast forward to 2002 when your knitting world changed and you learned to bead knit. What were you doing professionally in those in between adult years?

I’m not sure your blog is long enough for all of my adventures! Just kidding, but I like to say that I reincarnate every ten years or so given how varied my interests are. In chronological order I have worked as the following: a mime, a scuba diving instructor, an actress/singer, a healthcare consultant, a stay-at-home mother (my absolute FAVORITE!), a voiceover artist and now a knitting designer, teacher and author. How’s that for varied?


You have had the wonderful benefit of studying with the upper echelon of famous knitters. Now you are considered to be in the cadre of talented designers. How do you use that knowledge, teaching methodology and your innate visual talent to teach your students?

Although I have never formally studied the art of teaching, I’ve taken note of what seems to work in the classes I’ve most enjoyed. I think good teaching comprises several critical components, including but not limited to the following:
- Strong technical knowledge of your subject matter
- Preparation, preparation, preparation (including the provision of organized written and visual materials for your students)
- A firm belief that everyone in a classroom has something to learn AND something to teach and the commitment to remain open to what students have to teach me.
- An understanding that different people learn in different ways. It’s always important to be prepared to offer students a variety of ways to learn the same lesson until we find the one that best aligns with the way they learn.


You describe yourself as “left brained” which would imply that your thinking emphasis is logical, detail oriented and analytical. Yet you clearly have the capabilities of right brainers who are imaginative, artistic and creative. Can you talk about that?

I could talk about this for days! The simplest explanation I can give you is that most people are right- or left-brained dominant. It’s rarely all one side or the other. Second, I wrote my book, Betsy Beads: Confessions of a Left-brained Knitter because I wanted to explore this. How did I transition from thinking of myself as an excellent knitting technician with no creative potential for the craft to having so many ideas for new work that I now describe my brain as being like an airport runway with new ideas lined up for miles, just waiting for an opportunity to take off?

What I now believe is that left-brained dominant folks like me are often no less creative than those right-brained folks who accept their creativity as a given. What works for me, and I believe can work for others, is simply engaging in a more concrete, organized creative process. The book contains seven short essays that describe the discovery and essence of that process. The projects in the book then illustrate it and offer what I call “what if…?’s, suggestions for taking the original designs in new and exciting directions. I truly believe that anyone who truly wants to be creative and is willing to do the work, can be. Giving yourself permission to BELIEVE that you CAN be creative is often half the battle.


Your beaded knit work is extraordinary and basically singular in availability. Are they all singular pieces or do you ever produce, contract production or consider alternatives for demand of multiple pieces?

I make every single piece I sell so the idea of doing production for large scale retail sale is not possible, nor do I have any interest in doing that. Perhaps selfishly, I want to make only what I want to make, when I want to make it. But in addition to my more costly, one-of-a-kind work, I do have a line of Limited Edition pieces: what I call Slider Bracelets and Bead Ball Necklaces. These are still made to order but simpler and quite affordable, ranging in price from $75 per bead ball to $125 for a bracelet. In the past, I have only sold my work at shows or from my studio showroom by appointment but that is about to change. Sometime in the next few months I will be adding an e-commerce component to my website where people will be able to directly order my Limited Edition work and buy an occasional sale piece of one-of-a-kind work as well as a new line of original pattern designs and accompanying material kits. When the new Studio B Shop site launches, I‘ll announce it on my website and on Ravelry.


You manage many avenues of generating Betsy Hershberg excitement: teaching, pattern making, book writing, kit making and of course your own knit projects. Do you enjoy working with all of these entities?

While I really do enjoy teaching and writing the book was an incredible experience (made possible by the extraordinary publishing team at XRX Books with whom I had the privilege of working), there is no question that imagining and creating new, one-of-a-kind work is my absolute favorite endeavor. The process I use often involves the iterative creation of small, ever-evolving swatches as I shepherd an idea from whatever inspiration is at play to a finished piece. The work is challenging, exciting and yet because it happens in small steps, it never feels scary or overwhelming. Perfect for a somewhat risk-averse, left-brainer like me.
 
At 63, you have achieved tremendous success with your work and your teaching both in person and through your book. Do you have a further vision for yourself? An area yet untapped?

Not really. I much prefer to remain open to whatever life will offer up next. I am never bored! The word does not exist in my vocabulary. Given my past, I have every reason to expect that the next adventure will be as much fun and rewarding as those that I’ve already experienced. I am an eternal optimist, another gift I have “inherited” from my remarkable mother - now a healthy, actively engaged, 87 year old. Whatever awaits, I am confident I’ll find a way to deal with the challenges and celebrate the joys.



 

An Interview with BARBARA HANSELMAN: Claysmith Extraordinaire

                                                    photography by Linda Ann Miller

Barbara creates distinctly beautiful rattles with a keen awareness of its spiritual path in history. She teaches workshops that focus on hand building techniques to build both small and large design elements.

You are immersed in the world of clay now yet you had a previous life about 20 years before which was client driven in interior design. How does it feel to be in your passion mode and also be autonomous? Do you enjoy creating as well as teaching?

I have always been self-employed and somewhat autonomous but it wasn’t until my hands went into clay that I was able to overcome my fear of not having design clients to generate an income.  I soon realized that I could bring much of my interior and graphic design experience to clay but the opportunity to share my new found passion for clay with anyone interested was truly a bonus.  Looking back now it seems that teaching was simply the next logical step.


You have finely honed your hand building techniques to produce exceptional pieces. Do you ever work on the wheel to pursue a structural value that eludes hand building?

I never was drawn to the wheel; the potters I knew who worked on one were more production oriented, churning out mugs, bowls and covered casseroles.  It was never a dream of mine to produce functional pots.   When I became confident as a “Claysmith” (a name of my own invention since I didn’t consider myself a potter) my last thought was to enter the Strictly Functional Pottery National Show in Lancaster.  But when I finally realized the difference between production and function and did enter national venues like SFPN, my clay work was accepted and awarded.  As a result, I don’t feel that forming clay vessels on the wheel has a structural value which eludes hand building. 

Working with clay (whether hand building or throwing) is akin to learning to ride a bike – learn it, forget it, then just do it.  I collected the basic techniques of hand building in a relatively short period of time and had at least ten years worth of clay methodology in books, on tapes and in notebooks before beginning to master any of them and make them my own.  Practice is essential; learning to see and listening to the clay is an art unto itself.   I am reminded of a story about ceramics in college where the assignment was to make ‘the perfect pot’.  Half the class was told to make as many pots as they could, the other half was told to concentrate on just making one ‘perfect’ pot in a six week period.  You know which group ended up making the ‘perfect pots?’ – The group who made as many pots as they could.


Your clay rattles are very special and hold a spiritual presence. Can you talk about that?

Many cultures believe in Healing RATTLES and their capacity to dispel illness & dis¬-ease.  These Rattles are credited with being able to awaken the human spirit, drive out negative energies and center personal focus.  My versions of these Rattles are hand formed and adorned with symbols of wellness; they are shaped to be grasped.  During times of despair, medical treatments or loneliness, the Rattle should be gently shaken to the beat of one’s heart. RATTLES do help us to ground; their sound is powerful & magical, producing an incomparable energy all their own.
All of my Rattles are “birthed” in the same way.  Once the basic shape is formed, I tenderly blow my own CHI (breath of life) inside, sealing the opening quickly closed with pursed lips. 

In developing beads or creating jewelry, the intellectual and artistic process would appear to be different than when you create a pot. For example, beads are individual elements that may be left as a singular piece of art or grouped thoughtfully and artistically as jewelry with/without other components. Do you approach this differently? Do you always plan the outcome?

Answering your last question first, I never plan the outcome of anything when it comes to clay.  I am just along for the ride and although I may suggest a direction or a turn, the clay always has the final say.

I love making Rattles and Beads in Clay because, individually, they have the capacity to become future artifacts from the era in which I live.  They are small and durable; able to remain perfect while much larger icons like clay pots are ravaged by time.  Yet in the present, my clay beads can have the same intrinsic value as a finely cut gemstone, cabochon or pearl which permits each one to ‘cross over’ into the artistic discipline of self adornment.   I just LOVE that!


How has your explorations of post firing surface design (glazes, textures, colors) changed your vision for your work?

Early on in my clay venture, I discovered I could go past the simple rolled out clay slab and make Clay Fabrics from these slabs.  This process allows me to focus on how my pieces will LOOK before I even know what they will be.  Making clay fabrics forced me to consider how different glazes would enhance the various engobes & stains I was applying, whether my engobes or terra sigillata even needed the addition of a glaze to look ‘finished’ and how  combining different clay bodies, textures and engobes at this beginning stage would make dealing with my future bisque-fired pieces a breeze.


Now at 66, what do you still want to achieve with your work in clay?

First I wanted to hand build with clay, eat off its river rock surface and drink from the empty spaces it defines.  I then wanted to hear the sound of clay as it moves to and fro within itself - so I make rattles.  Now I want a total “Clay Shibumi” where I am the adaptable turtle or the Bodhi leaf impressed in the beads’ surface; where I know the power of each single hand-formed bead touching my skin and absorbing my essence.  I want to be what the clay is saying as I wear it and fondle it (the way old Greek men stroke their worry beads).
So I strive to compose with the language of clay… Whether the clay becomes a pot, a rattle or a bead, it is its final ‘function’ which determines the process I use to seal its fate.  I value these processes far more than the physical manifestations I make in clay.  Embracing these processes makes it possible for me to ask “What if” and to build on the awareness of where my venture with clay has taken me.



 

An Interview with JAMES E. BOGLE: ASIAN ART COLLECTOR and HISTORIAN

 

An esteemed collector of Southeast Asian Art, Jim lives" half the year in Thailand. He is the author of the beautiful  book  “Thai & Southeast Asian Painting: 18^th through 20^th Centuries" .  He recently donated a large portion of his collection to a museum in the United States and continues to collect art.

What triggered your interest in Asian art? Were you interested in the arts before being in Thailand?

I first became exposed to Asian art when in Bangkok in 1958 to undertake a city plan for Bangkok and Thonburi with a team of professionals. The art history education I received at the School of Fine Arts, University of Pennsylvania  was solely focused on occidental art; what I saw in Thailand in the late 1950’s and early 1960’s captured me!

I began collecting Southeast Asian paintings and art in 1958.  I enjoyed the spirited portrayals of the Jatakas, the Phra Malai stories and the images of the Lord Buddha which hung on my walls. There was very little English language literature at that time, and while I wasn’t sure what the subject of the paintings were, I was very sure of the pleasure they gave me.
The first paintings I acquired verged on the best of  western abstractness; paintings of vivid color, paintings without the confining  dictates of perspective, shades and shadows; paintings which valued strong composition, and paintings whose main driving force was the story to be told. I was enchanted.

Later assignments in a number of other Asian countries also contributed to my growing interest in Asian art. I collected and became interested in religious Indian and Tibetan art, as well as artifacts. In Saudi Arabia and Egypt I focused on carpets. And then I expanded my collection to include Indian miniatures paintings, and Tibetan Thongas paintings.
Around the late 1990’s I began to acquire Southeast Asian paintings as a priority. A number of these later acquisitions were found in the U.S.A. and Europe; well outside the confines of Southeast Asia.


Were your parents in the arts or collecting?
 
Not really! They were supportive and Dad probably strained himself carrying packages from the local, nearby post office. These were old items. antiques and miscellaneous junk sent  back from Germany purchased by the use of cigarettes when stationed there in the Army,1945-46. (I never smoke when I became aware how additive they were)


You continue to spend much of your time in Thailand. Are you still collecting?

No/Yes! At 86 years old I am in a liquidating mode and over the last few years have sold or disposed of most of what I collected. Occasionally I weaken and buy some items but nothing major. If I find an old, good Thai or Southeast Asian painting I will try and buy it, if the cost is reasonable. The problem is the dealers who know me and my book, think I may know more than I do and suddenly the piece I am interested in is not for sale or the asking price becomes unreasonable.


Your book, Thai and Southeast Asian Painting: 18th Through 20th Century,  is beautiful and an excellent guide to Asian art.  Is there an area of Thai art or depiction that you find particularly compelling?

I always find the older Asian paintings most compelling. 


Recently you donated a large portion of your collection to the Walters Art Museum. Can you talk about that decision? 
 
In 2011 I gave 50 pieces of Southeast paintings to the Walters Art Museum in Baltimore, Maryland.
In 2009 I gave an illustrated talk on Thai Paintings to the ‘Informal Northern Thai Group’. During the question and answer segment at the end of the talk, an older man asked ‘What is going to happen to the paintings?’ I was taken aback by his question. My first reaction was one of slight annoyance and then later I realized it was something that I really hadn’t thought about, but the subject was real and given my age, somewhat pressing.

After my book on Thai paintings was published in 2010. I started to think about the paintings. Then I learned that the collection I had was probably the largest one in private hands in the USA so I decided to try and keep it together by donating the group to a museum.

Dr. Leedom Lefferts helped me with a concern of one of my paintings. He had just finished a consultancy at the Walters Art Museum and told me about the museum. It has a wide ranging, eclectic collection from Greek sarcophagus to Asian art in a relatively small space but all the art is well displayed. The museum also has a large collection of Thai paintings thanks to donors Doris Duke and Alexander Griswold and so I decided to join them.



You continue to write. What are the projects that you are working on now?

I just sent the final draft of my new book to Schiffer Publishing. The working title is Theravāda Buddhist Cosmology and a Cosmology Manuscript.
This book was initiated by the acquisition of a folding Burmese manuscript (parabaik ) from the 19th century, which describes and illustrates the Buddhist Theravāda cosmology.
In working on this effort, I realized that while the Buddhist cosmos has been described in literature, it has not been the subject of much discussion.  While there are great numbers of books on the Buddha, Buddhism and the various aspects of Buddhist practice and thought, there are less than a handful of books in English that focus on the cosmos only a few mention the Hinayana or Mahayana Buddhist cosmos and they do so only peripherally. 

I hope this new book will make understanding of the Hinayana cosmos easier to comprehend.

 

WHEN GETTING DRESSED IS AN ART

Some linger. Others are quick. The solution is always the same; get clothes on and begin the day.

For most of us, it is as elementary as brushing our teeth in the morning yet there are people who consider it an opportunity for artful choices. The body is the canvas and fashion magazines simply emphasize that fact. And Hollywood’s red carpet at the Academy Awards celebrates famous people who take getting dressed very seriously.

While most people do not think about dressing in such a sophisticated way, at least not daily, women tend to be both more concerned and more interested. After all, their choices are greater than men; they have tops, bottoms, dresses, accessories. So it is not such a surprise that Tziporah Salamon, 63, a self-taught style maven has developed a cult like following in New York City.

It’s almost like a home course in Dressing 101. Held in a residential apartment, women gather to watch Tziporah take a variety of pieces from her large vintage wardrobe to demonstrate the art of dressing. She may not tell you that it requires a trained eye, a comfortable budget and a strong ego to absorb her creative suggestions but her demonstrations are in high demand mostly by middle aged women. While she acknowledges the body changes of getting older, she also makes fashion choices to address those changes. There are wonderful stories about her bargain finds that captures everyone’s attention; her finds range from a $60 jacket to a rare Prada handbag for $800.  Of course not everyone has her closet filled with eclectic choices but they are there to understand how to make those kinds of decisions. Not that Tziporah wants clones, she really wants to empower these women to find their own personal style.

And the fashion world has taken notice of her talent. She recently signed a modeling agreement in London and has participated in a Lanvin campaign. Of course New York Times’s Bill Cunningham is always taking pictures of her on the street and that alone is confirmation that what she is wearing is interesting and important in the fashion world.

Style is the hallmark of a true fashionista. Look at Iris Apfel, now 91, is a revitalized icon partly because of her style and everything because of her fashion vision. Having spent many decades with her husband traveling the world for textiles, she indulged in any and all types of wearable art. Known for her big black circular eyeglasses, she has a unique method of dressing. It’s almost architectural. She begins with a solid color, usually black, from head to toe. That enables her to “paint” herself with an abundance of unique and wild accessories. Her style is so extraordinary that she has recently become a brand and even scarves patterned with her eyeglasses can be bought in stores. She says ‘I can't tell people how to have style. No amount of money can buy you style. It's just instinctive.”

For Iris Apfel and others, style is instinctive because they have a keen eye and understand how to mix diverse and unique elements. But it does not always have to be eccentric, bold and colorful. Jackie Kennedy became our fashion leader with her elegance and understated simplicity of dress. While she could have easily worn a full mink, she chose to wear a wool coat with just a narrow trim of mink at the collar. Jackie established a new American style as our First Lady.

So whether it is a flamboyant assemblage of elements on your body, or a simple white kaftan, you can make your own style. It is a personal statement of choice that should be held with pride and confidence.

Iris Apfel:
No. 1 style rule: “If your hair is done properly and you’re wearing good shoes, you can get away with anything

An Interview with ALICE and RICHARD MATZKIN: Creating Art that Embraces Graceful Aging

Alice and Richard Matzkin, painter and sculptor respectively, are artists whose work focuses on aging. Now in their 70s, they express their thoughts about their own aging and offer wise advice for all of us.


Have you been actively engaged in making art your whole life?

Richard: In my early years I was immersed in art but then completely lost interest in it as I began to pursue a career in music and psychology in the early 60's. Then, 25 years later, my wife, Alice enrolled me in a clay sculpture class. From the first day onward, I began to produce figurative sculptures with ease and without reference to models or photographs.
In my career I was a therapist, men’s group leader, Adjunct Instructor in the California Community College system, director of a court mandated treatment program for domestic violence, and program director of a psychiatric hospital. I hold a Masters Degree in Psychology.

Alice: I have received no formal education in art but as long as I can remember, painting and drawing have been my love. After a 22-year hiatus from painting, while I raised my son and daughter, I returned with passion to my paints and canvas. After moving to the country with Richard, where we share a studio, I painted two paintings - one of the famous potter and sculptor, Beatrice Wood at age 100, and feminist, Betty Friedan - which were purchased by the National Portrait Gallery of the Smithsonian Institution and are in their permanent collection.


Did something happen that provoked thoughts on your own aging?
Alice: I was about 58 years old when I began thinking of my mortality. I realized that part of coming to terms with the aging body is appreciating just how precious life is. And I also knew that if we didn’t change our attitude about getting older we would be very unhappy.
How have you used your art to express your thoughts on aging?

Richard: Fear can be inspirational and I sculpt my fears in clay. I began a series of “Naked Old Men” and I also worked on a series of old lovers which is all about us. My art helped me work through the issues of getting older. If you look at an old face without judgment, you see the person, the history, the character. And that has its own beauty but most people don’t do that.


Alice, you have painted many older women, famous and not famous, naked and clothed. Is there something universal that you sense with all of these women?

I see how the body, although very different for each woman, is simply not what constitutes the person. It’s inside that is important, living in the moment, accepting one’s self. When we get older we tend to compare ourselves with youthful beauty but we’re only young for a very short time and each age has its own beauty. Part of coming to terms with the aging body is realizing how precious life is. To focus on lines and wrinkles is a waste of time; it’s just life taking its course.


Richard, what has been the impact of your art in writing the book?

For us these art projects were very important and generated thoughts for our book THE ART OF AGING: Celebrating the Authentic Aging Self. It just came about as a natural expression from our art. We’d like to pass on some of the things we’ve learned to the baby boomers because it is an important time for them. We want people to read the book, see the art and get from it some of what we’ve gotten.  It’s a gift. The whole of our life is our work of art whether we use paint or clay as a medium of expression. Our real art is how we live day to day. It’s how we live with integrity, how much of ourselves we give to our work, to the people we love and to our world.


Are you working on a new project now?

Alice: Yes, we are working on a traveling exhibit to museums around the country to expose the highs and lows of aging.

 
As part of our personal growth and our responsibility as elders,
our intention is to share what we have learned about growing older. By exhibiting our art, speaking and writing, we intend to spread
the important message that aging is not the end of life, but can be a positive new beginning and the crowning culmination of a lifetime.                                                         
   - Alice and Richard Matzkin
 

Big Success: Creating Solutions to Impossible Challenges

Life has its many challenges and the following three profiles show their strength of character, their conviction of purpose and their passion for success.

He was a young mountain climber caught in a severe blizzard. Having walked days in the frozen wilderness before he was rescued, frostbite took his legs. Doctors tried for months to save his limbs, but then they were amputated at the knee. Hugh was 17 and he would not relinquish his passion for climbing. So his new mission would be to dedicate himself to building a new world of prosthetics.
Hugh confesses to having been a D student before his accident and now is revered as a brilliant professor at MIT. At 48, he has spent the last 3 decades molding science and design to embrace bionics. He wants to rid the world of disability because, he says, its only limits are that of physical laws and imagination. And ironically Hugh talks about the aging benefits of having limb prosthetics; he can upgrade his limbs continuously and they will remain strong and, in fact, immortal unlike an elderly person who experiences the physiological difficulties of aging limbs.

THE pregnant woman was being treated for appendicitis when her doctor advised her to abort because her child would be born disabled. She refused. Now this child is 55 and is considered the most popular Italian and classical singer in the world and has sold over 70 million records. He is blind. He is Andrea Bocelli.

 
His eyesight was limited due to childhood glaucoma but it was the accidental soccer ball hit to his head that resulted in a brain hemorrhage and subsequent blindness at age 12. By then, he had already demonstrated his musical talent because at 14 he won his first song competition. Intellectually gifted, he studied at the University of Pisa and became a lawyer. However to earn extra money for voice lessons, he would sing at piano bars where he was noticed by Caterina Caselli who signed him to her record label. His incredible rise to musical fame is now history. Andrea’s success has contributed to the 2011 launch of The Andrea Bocelli Foundation which has two missions: to fund medical research and fight poverty.
 
AT 2 she was diagnosed with autism and at 4 she began to speak. School life was not easy. But Temple Grandin earned a degree in psychology from Franklin Pierce College, a master's degree in animal science from Arizona State University and then a PhD in animal science from the University of Illinois.

She considers her autism as an important tool in building her career. As a visual thinker, she sees her verbal communication as secondary and experiences extreme sensitivity to detail and changes in the environment. She believes that these unusual attributes contribute to her understanding of cattle and domesticated animals.
 
Temple is now a renowned  animal expert who has consulted with companies worldwide.. She is also an advocate for people with autism and encourages early intervention. An author, she has written  Animals in Translation and Animals Make Us Human.
 
 
When we are no longer able to change a situation, we are challenged to change ourselves. 

~Victor Frankl (Concentration Camp Survivor, Neurologist, Psychiatrist)
 
 
Give me a place to stand and i will move the world.

~ Archimedes (Mathematician, Scientist)
 

 

The Evolving Wheelchair: Innovation, Adaptability & Design

True or False:

1. All wheelchairs look alike
2. All wheelchairs have a grey or dark colored surface
3. All wheelchairs cost only a small fraction of the cost of a car
4. No wheelchair can climb stairs
5. Wheelchairs can never be used on sand, mud or other exceptional terrain/

The answer to all of the above is FALSE.

Wheelchairs have come a long way since their first debut in 1595 as an “invalids chair” for Phillip II of Spain. In recent years, industrial designers worldwide have taken the challenge to create the exceptional merger of form, function and uniqueness. Each has a different perspective on style, an approach to challenge the function and a dazzling feature. Some prototypes are so unusual that they may never get to market or, if they did, they may not be able to sell enough wheelchairs to sustain their business. Yet wild designs are important because they break down the stereotypes and then innovative elements start to appear in other models. Also the reverse is true. Seeing the capability of a wheelchair in a special way can trigger thoughts of advancing that feature with more functionality in a new model.

One of the most remarkable wheelchair innovations is a submersible model. British artist Sue Austin, a wheelchair user since 1996, pursued this development with a team of engineers. Adaptable for scuba diving, it uses dive thrusters, control surfaces, and flotation as well as fins attached to Sue’s feet to support self propelling underwater.  Engaged in performance art, the wheelchair is part of her Freewheeling project which addresses the intersection of art and disability.

“Dance is a state of mind and an attitude, not just a physical motion.” says Auti Angel, a "dancebassador" at an Abilities Expo.. And so dancing is now a new movement enabled by wheelchairs. Auti uses what appears to be a standard type wheelchair but with simplified design and greater flexibility that allows graceful control on the dance floor. Merry Lynn Morris, a dance professor at the University of South Florida, has designed the Rolling Dance Chair. Modeled from part of a Segway device, it has a fabric covered round seat that is transparent and designed to almost disappear under the dancer. It is strong enough for a second dancer to stand on in active spinning position. But perhaps the most exciting and important feature is that the person sitting in the chair has complete control of its movement so when s/he leans, the chair moves as the wheels propel responding to the user's movement.


All terrain wheelchairs are attracting interest. From moving gracefully on a sandy beach to climbing up and down stairs, these wheelchairs have been designed with unique sets of wheels. HEROes Series of Sport Wheelchairs inspired by Mark Zupan, a quadriplegic and captain of the United States wheelchair rugby team, built a wheelchair not just for the beach but predictably also for beach rugby. And a team of designers, Julia Kaisinger, Mathias Mayrhofer and Benesch Xiulian, worked together to develop the CARRIER Wheelchair that can provide complete independence for the user traveling over any terrain. Its functions include traction to climb the stairs and a standing position so the user can be at eye level with other people and have the potential to reach things that previously could not reached from a seated position. Another very special practical design element would eliminate the need to physically transfer to a toilet seat.

And there’s the social and psychological aspect of being in a wheelchair that the average mobile person does not think about.  Yet for Alexandre Pain, his design goal was “Designing for Social Stigma” and he wanted to create change with a dramatic and elegant design that does not resemble a wheelchair. To fully understand the dynamics of a wheelchair with respect to both its function  and challenges of the user, he dedicated time being in the wheelchair. Alexandre found that the most difficult aspect was the stigma associated with it and so his goal was to reinvent it, morph it into an entity that did not resemble its former life.. The result is the electric Tandem scooter which  is quite beautiful and, like a scooter, comes with additional seating for another person in the back. His goal is achieved with this because it reduces the negative perception of disability that is associated with a wheelchair.

More evolutionary wheelchair designs include:

• The Nimbl concept wheelchair by designer Lawrence Kwok (with Tino Sacino, Danna Lei and Alison Ochoa) that enables the user to move through interior home space without having to make costly physical changes to the space.

•  The Firefly from Rio Mobility is an attachable electric handcycle. From the wheelchair position, a person can attach this device to the front. It transforms the wheelchair to a motorbike look and gives the user control with steering and. speed

• The Cursum – Stroller for wheelchair users by designer Cindy Sjöblom. “Parenting in the first stages of infancy can be incredibly challenging – add a mobile disability to the equation and you can imagine how daunting it might seem.” This wheelchair was created to work in tandem with an infant seat.

• Mauricio Maeda designed an entertainment mobile for the wheelchair user. “In my humble opinion, design should not be just about making beautiful things, but to improve people’s lives and serve a purpose as well. I decided to model a wheelchair because I hardly ever could find one that presented a little more comfort and some additional features (at least here in Japan! ). I’ve put a portable computer case under the seat, a joystick (to move the wheelchair), a trackball, a monitor, a keyboard, speakers, a wireless headset, a webcam, a drink holder, a stereo sound gadget (behind the seat), a power source on the back and a remote control. Some other features could be added, but I didn’t want to turn it into a Christmas tree…So… that’s it…”

There will always be people with disabilities and there will always be wheelchairs but now designers have taken the challenge to blend form and function. Leaving the classic stereotype behind has given designers the freedom to bring more versatility to the wheelchair and therefore an enhanced quality of life to the user. For the disabled, it will provide more mobility and independence and therefore positively impact their social interactions, their options for leisure time and their self esteem.



"Money cannot buy health, but I'd settle for a diamond-studded wheelchair."
-Dorothy Parker