Conversation with Vanessa Potter also known as Patient H69, an inspiring and very brave woman who lost her sight and then, essentially, relearned to see again by rewiring her own brain.

“As I thought it previously, it turned out to be a very insightful and liberating experience. The concept is as simple as the feelings and sensations this experience evoked in me. Being blindfolded is so simple and clear, still so powerful.”

Within the blind fields project, Ágnes researches her relation with fire by being blindfolded. Challenging her senses, her intention is to explore her own sensitivity, inner consciousness and creative movement with fire.

“Even as a kid, I loved music and particularly enjoyed when I could listen to music reproduced on high quality equipment. When I became blind, hearing – somehow naturally – became my primary sense and I had no difficulty reaching a decision on pursuing the exploration of sound.”

“This work was made from rubbings of a mysterious stone bowl carved in the rock of the Bridestones, a mysterious series of large stones on the hills above Todmorden. Probably dating from Neolithic times, it is a site dedicated to Bride, goddess of the Brigantian people.”

“When I close my eyes, the inner world comes closer, while the outer world starts speaking another language. Regardless the fact that visual stimulus is absent, the visual experience is being created though a synergic dance of various impulses meeting on the same vibrational field.”

“My first contact with blind dance occurred in a company of Andrea, as she is into music therapy. Listening carefully to her sounds and performance, I begun relaxing and approaching her, following my feeling and the sound frequencies.”

“On the day of my new experience with blind fields, I met Šejla Mujdanović who joined me in my improvisation on Orff instruments. This was a set of various instruments such as metallophone, xylophone, sansula, several kinds of rattles, djembe, etc.”

“As the world went blank, memories started to visualize themselves in my head. Dobogókő became an imaginary reality and the real world in my head was formed based on what my legs could sense. “

“How do I converse with external influences? How do I move about, sense things…? How shall I feel and what will emerge from the inner emptiness, culmination, intimacy? How shall I create when I shut off a sense that is fundamental for a visual artist?”