![]() The warm coloring and realism of the scene work to bring life into Sam’s helpless form. The green hospital gown is ruffled and reminds the viewer of the lack of autonomy that Sam has while in a coma. The framing of the picture suggests that the viewer is seated, eye level with the child. Sam’s body is posed nestled into the sheets of the bed and he is small in comparison to the medical equipment attached to him. His skin is colorful and despite his circumstances his skin tone suggests warmth and peace. “Study for a Hero’s Life” is a soft, colorful scene of a child laying in a hospital bed. The painting “Study for A Hero’s Life was painted during these months. This traumatic setback was coupled with the stress of developing a show and Desiderio split his time between the hospital and his studio. After what had happened, Gale and Vincent were unwilling to leave him alone for even a moment.” (Pall) His progress was slow, uncertain, studded with reversals. But his ability to breathe on his own had been compromised. In the months that followed, he gradually regained consciousness, motion and speech. “It was like someone took a cue ball and shattered our lives," said Vincent. Sam’s shunt became blocked and his brain herniated: In 1990, Desiderio’s art career hit an all time high and he signed his first major contract with an important gallery. A shunt was placed and he began to thrive against all odds, Vincent described Sam during this time as "the wonder kid of New York Hospital" (Pall). Sam was diagnosed with hydrocephalus and was experiencing intracranial pressure from the fluid on his brain. Sam Desiderio was born to parents Gale and Vincent in 1986. “Study of a Hero’s Life” (Vincent Desiderio, 1990) Desiderio specifically addresses how this stress has effected his art and I will explore these effects and how his art can be both an expression of his experience and a coping mechanism. This combination of stress negatively affects their psychological well being and is often expressed by anxiety and depression. Nieboer) Parents like Tim and Vincent must balance the medical, developmental, and day-to-day needs of their children with the demands of work and life. Studies show that in general, parental caregivers experience lower employment than other parents, greater financial stress, and experience increased emotional stress. The difficult needs of their children affect them at every level. Lowly and Desiderio are not alone, parents of disabled children are most often primary caregivers. ![]() In addition to combatting their depression, this work also fosters relationship with their children. The process also functions as a psychological coping mechanism to deal with the increased vulnerability of the caregiver population. These successful artists share similar stresses and feature their children in much of their art.īy featuring their disabled children in their work these artists are both directly and indirectly contribute to the advancement of disability studies and creating a better world for their children. You do not have to produce personhood to deserve love.” Having personal caregiving experience this idea felt revolutionary and I connected deeply when I read more about Lowly and Desiderio’s life stories. ![]() Her father Tim’s work is statement that you do not need to earn love to be adored. “Temma’s daughter is one of the most disabled people I have ever met. In our first day of class with Riva Lehrer she introduced us to the work of artist/parental caregivers, Tim Lowly and Vincent Desiderio. Painting Life As Is: Portraits by Parental Caregivers
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