Accessibility Statement for The Hidden Response.
This is an accessibility statement from Cracked painter and The Hidden Response project. An artist lead research and development practice project.
Measures to support accessibility
Cracked painter and The Hidden Response project. An artist lead research and development practice project. takes the following measures to ensure accessibility of The Hidden Response.:
Include accessibility as part of our mission statement.
Include accessibility throughout our internal policies.
Integrate accessibility into our procurement practices.
Appoint an accessibility officer and/or ombudsperson.
Provide continual accessibility training for our staff.
Assign clear accessibility goals and responsibilities.
Employ formal accessibility quality assurance methods.
Include people with disabilities in our design personas.
The Web Content Accessibility Guidelines (WCAG) defines requirements for designers and developers to improve accessibility for people with disabilities. It defines three levels of conformance: Level A, Level AA, and Level AAA. The Hidden Response. is fully conformant with WCAG 2.1 level AA. Fully conformant means that the content fully conforms to the accessibility standard without any exceptions.
Additional accessibility considerations
We are constantly working to improve and adapt in any way we can.
We welcome your feedback on the accessibility of The Hidden Response. Please let us know if you encounter accessibility barriers on The Hidden Response.:
Phone: 01237 471384 and leave a message.
Visitor Address: by appointment only
Postal Address: supplied upon confirmed appointment
you can contact me via Facebook, twitter, Instagram, and Tik-Tok.
Facebook - Crackedpainter.
TikTok - @2bcracked.
Insta - johnbaldwin07aolcom
We try to respond to feedback within 4 business days.
Compatibility with browsers and assistive technology
The Hidden Response. is designed to be compatible with the following assistive technologies:
The Hidden Response. is not compatible with:
As much as we can ascertain the website should work with all operating systems however, please let us know of any issues.
Accessibility of The Hidden Response. relies on the following technologies to work with the particular combination of web browser and any assistive technologies or plugins installed on your computer:
These technologies are relied upon for conformance with the accessibility standards used.
Limitations and alternatives
Despite our best efforts to ensure accessibility of The Hidden Response. , there may be some limitations. Below is a description of known limitations, and potential solutions. Please contact us if you observe an issue not listed below.
Known limitations for The Hidden Response.:
parts of the website viewed on mobile devices : may have been removed or maybe hidden due to compatibility issues... for optimum navigation and accessibility, we would advise viewing on a computer. We don't want you to miss anything... should you encounter any problems or have any suggestions please do get in touch.
Cracked painter and The Hidden Response project. An artist lead research and development practice project. assessed the accessibility of The Hidden Response. by the following approaches:
Is to constantly adapt.
Take time to listen
Action what we learn.
An evaluation report for The Hidden Response. is available at: https://communication-access.co.uk.
An evaluation statement for The Hidden Response. is available at: https://www.crackedpainter.com/about.
all complaints are to be submitted in writing and the response to the complaint with be answered within a two-week period.
Formal approval of this accessibility statement
This Accessibility Statement is approved by:
Cracked painter and The Hidden Response project. An artist lead research and development practice project.
Ramesses. Complaints Department.
Liaison and Director of Communications
This statement was created on 26 March 2022 using the W3C Accessibility Statement Generator Tool.
Below you will find three links-"The project" an overview of some of the things the lead artist has been getting up to with a short message. and some of the research.
Please read the project page below as it contains some insights into the project. All other relevant info can be found on this website or send us a email on the button below.
NO More Time!
Submissions / application". You can use this to enquire about the project.
Click above for an overview of the project.
Click above for direct link to email
Click above to apply
Let’s Work Together
Get in touch.
Working with me.
What is an access document?
Access documents are used by disabled artists to ensure that our needs are considered when working with others. They help to cover important issues prior to beginning a working relationship, allowing both institution/gallery/organisation/events team and artist to feel confident and comfortable in their interactions with each other. (“On Access Riders - Ja Ja Ja Nee Nee Nee”)
If you can’t provide something that’s on this list, I’m very happy to discuss that with you; I’m interested in accessibility as something that we work on together, not as a punitive standard that I measure you against.
I have a condition that affects my mobility, energy levels, physical ability, cognition and memory. It Can also make me a bit grumpy and curt. There are times when pain levels affect my vocabulary processes that make no sense, I once told a neighbour there was a penguin on her roof when it was clearly a seagull.
I tell you this to illustrate and make you aware that I have quirks as we all do, and I hope you will join me in laughing about them. Should one occur.
My condition fluctuates and can be exacerbated due to overexertion; therefore, I must be extremely careful and conscious with how I expend my energy and plan my time.
This can limit me from doing things spontaneously being able to stay late/long to meetings, being able to attend many social events and being able to adhere to many of the expectations placed upon artists and their labour.
Often, I want to do many things that my body is unable to do; please don’t be disheartened or offended if I can’t spend as much time with you as I’d like, or if I can’t attend your events as often as I’d like to. Please be assured that I will always do my best to fulfil what is expected of me as an artist.
If I am going through a crash, I am usually unable to leave the house until it passes; please bear with me during these times. I am happy to discuss my access needs so please let me know if you’d like to talk about any of the points in this document further.
I am an ambulatory wheelchair user. This means that I predominantly rely on a wheelchair I can, on a good day manage a few steps with my crutches or move around a small space without my wheelchair. This gives me certain freedoms in terms of navigating non-accessible bathrooms or the occasional step, but this is very dependent on my energy levels on any given day.
Because of this fluctuation, please assume that a venue/exhibition space/meeting space/gallery must be fully wheelchair accessible for me to participate and discuss with me any aspects of the space that aren’t accessible. If you invite me to take part in a show/event/conference etc. I will assume it is fully wheelchair accessible unless you tell me otherwise. Please do not invite me to work in a venue without first researching its accessibility, please do not leave me with any nasty surprises when I arrive.
I sometimes work with a care assistant, please address me (and not my care assistant) when you are talking to me or about me. Of course, please feel free to talk to my assistant if you want to talk to them about themselves. My care assistants are mostly fellow artists, curators and generally wonderful and interesting people; if they are with me in a space then please acknowledge and include them.
I do my best to respond to emails and calls within a one-week timeframe, but during a crash period I may not be able to keep to this. Please feel free to head emails “URGENT” or send me a text message saying that the situation is urgent if you need my attention more quickly. I prefer to communicate via text/email, phone calls are problematic at times and should always be followed up with an email report with regards to our discussion.
Prior to busy times or project deadlines I’m very happy to sit down and plan together for how to deal with an increased workload / urgency.
I need to rest frequently. I appreciate if we can schedule no longer than 90 minutes in a meeting before a 20–30-minute break.
It can be difficult for me to participate in activities on consecutive days. If an event is programmed over a few days, I’m often happy to come along and see how much I’m able to participate, but I can’t guarantee being able to participate over multiple consecutive days.
I do my best to plan my time in order to be present at events and meetings, but sometimes this is impossible, and I will ask to participate via skype or through my assistant. Please be open to facilitating this where possible. Let’s not prioritise face-to-face contact as the only meaningful mode of communication... this can be very isolating for me (and many disabled people).
If I’m unable to attend a meeting or event, I’m always very grateful for an update via email or voicemail to let me know what happened and how everything went. I hate to miss out (and I miss out on a lot), so I appreciate being kept in the loop.
I sometimes travel with a designated care assistant/ facilitator.
If I am travelling for over 3 hours, I will need at least one day’s rest before starting work. If I am travelling internationally, I need at least 3 full days to adjust before starting work.
If we are applying for funding for a project or budgeting a project, this needs to include access costs such as a care assistant and accessible transport, as well as costs for making the project itself accessible for an audience (sign language interpreters, large-font text, closed captioning etc.). This is funded separately and not come out of my artist’s fee!
Please factor a longer install time into our schedule than you do when working with abled people. I do like an active role in installations as this is often a crucial part of my practice and is indeed a factor of some of the artwork itself. I will aim to be present at installs if I’m needed, but I can’t guarantee being physically present on consecutive days and am obviously where physical labour is concerned it can be an issue.
I will need help from a technician(s) to present my work. Please let me know as soon as we begin our discussions if a tech can’t be provided, and I need to arrange my own techs. I cannot provide technicians/assistance at short notice so let’s work together to figure out what will make an install possible and comfortable well in advance. I’m very happy to discuss with you on how an install can work best for both of us.
Wherever my name is listed on a website or any marketing material (including on social media), the access information for the event/building should be listed with a link please. (“Access Rider | Diversity Arts Culture”) This should include details of any stairs, toilets, the nearest accessible public transport, and route from that transport to the venue, and what kind of seating / access provisions are available at the event (sign language interpreters, quiet rooms, closed captioning etc.). This is especially important if the venue/event space is not fully accessible! (“Access Rider | Diversity Arts Culture”) If you need any pointers or would like to me to look over what you’ve written, please ask me, I’m usually very happy to do this.
This is an essential part of us working together as it is the only way that people with access needs know whether they are welcomed in a space or not. I will not participate in events and shows that actively choose to exclude sick and disabled people.
I am always learning and try to be as open with people as much as possible if you have a question please ask.
"Please consider taking the access measures that you learn about during our time together and applying them to your future work." (“Access Rider | Diversity Arts Culture”) Disabled people are estimated to make up 1/5th of the global population, and yet we are consistently left out of and ignored within cultural and art world discourse. Making your events and exhibitions accessible is not just good for disabled people, but also for your gallery/institution, for your wider community and for the fight to make the world a more accessible place for sick and disabled people. I hope that by working together we can create examples that others can follow and learn from.