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Shoes, Scores, and Maps: Tools for a Regenerative Future

Essay by Sarah Wolf Newlands, September 2025
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INTRODUCTION

 

When Fairview Training Center in Salem, Oregon opened in 1908, people experiencing disabilities faced widespread discrimination. Many endured medical experiments, isolation, and forced sterilization. It wasn't until 82 years later, in 1990, that the Americans with Disabilities Act (ADA) provided federal legal protection, and finally made it illegal to discriminate against disabled people. While the ADA was an important first step in ensuring progress toward equal rights, progress has been slow, and there is still a long way to go. To achieve inclusion, we must recognize people experiencing disabilities as primary partners in creating equitable systems of care. Efforts that do not center these voices are insufficient and incomplete. By collaborating with disability communities as partners in care creation instead of positioning them as research subjects, organizations make lasting and meaningful contributions to our futures together.

 

The following three sketches: Shoes, Scores, and Maps, offer ideas that prioritize human connection, creativity, and well-being after Fairview. The shoe, the map, and the score are tools to help chart a way forward after Fairview, out of structured exclusion and toward generative collaboration and community. These ideas center mutuality, creativity, and individual well-being, in contrast to the medical model that confined and isolated people in institutions like Fairview. The goal of this work is to prioritize affirmative and creative ideation as an indispensable tool to explore possibilities.

 

SHOES

 

What connects Van Gogh's painted shoes from the 1880s to a boy repairing shoes at Fairview circa 1918? 

 

…one of our boys mended shoes for our one-hundred fifty inmates 

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Shoes.jpg

(left) Vincent van Gogh, Three Pairs of Shoes, 1886–87. Oil on canvas. 49.8 × 72.5 cm. Cambridge, MA, Harvard Art Museums/Fogg Museum; (right) excerpt from Fairview Training Center: History in the Making, 1993.

Van Gogh’s Celebrated Shoes

Van Gogh painted at least eight oil paintings of well-worn work shoes, portraying an essential tool of a working person. By capturing the unique character of these shoes, he transformed them into valuable masterpieces. The paintings now hang in prominent international museums and collections, where they continue to draw wide-ranging attention from art historians, philosophers, collectors, and people from all over the world.

 

According to John Berger, a painter who creates images of objects is also, in effect, recreating the sense of the original work that went into them (Berger 90). This suggests that the painting itself refers to the effort and skill involved in making the objects it represents. Van Gogh portrays his own struggles and pays tribute to the manual labor represented in the work shoes.

 

In contrast to the shoes in Van Gogh’s famous paintings, an Oregon boy’s mended shoes have faded from the visual record. The young cobbler who repaired the shoes of one hundred and fifty inmates remains anonymous, and the story of his work can only be found in Fairview's history documenting the center's operations. 

 

What is the difference in recognition and value between the boy’s labor and the labor depicted in Van Gogh’s well-known paintings? Van Gogh's painted shoes hang in museums, and the inmates' repaired shoes were worn out through everyday use.

 

Imagine if Van Gogh, who stayed in a French mental hospital for a year, had lived in Oregon in the early 1900s. Had he been placed at Fairview and had access to paint, he might have painted the boy's mended shoes.

 

This story is a small effort to remember a child whose work was forgotten. The system he lived in saw his labor as a part of the institution, not as his own contribution. By telling his story, we can push back against that history and give him the recognition he was denied.

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SCORES

 

A score is a set of open-ended instructions, a proposition, and a tool for participating in collaborative work and shared experiences. In music, a score traditionally serves as a blueprint that guides how a piece should sound and how performers should approach it, providing both structural framework and interpretive possibilities. When someone performs a score, they are an active participant, not a passive audience member. Their participation requires trust and creates interdependence while engaging the senses. Sensory engagement helps people notice much more about their environment. Larry Supnet's paintings and Park McArthur and Constantina Zavitsanos's "care collective" demonstrate how scores can be used as a framework for collaborative and creative practices.
 

Larry Sumpter.jpg

Larry Supnet, The Elephant And The Screamer, 2015, Acrylic on Canvas

Larry Supnet's Paintings as Scores for the Imagination 

Larry Supnet paints abstract figures in bold, vivid colors. He finds inspiration in ordinary things like sidewalk cracks, cloud formations, and has a tendency to see faces and forms where others might not. "Art is my life," he says. "My art is colorful and it tells a story about life. I see images in splotches on the floor or anywhere and make paintings based on the images I see in abstract shapes" (Supnet artist statement). Artworks like Larry Supnet's can function as scores for open-ended creative thinking, and for seeing the world differently. They are paintings, which we, as viewers, look at and contemplate. What if we consider them scores instead, and treat them as instructional frameworks that guide our perception and thinking? When we engage with Supnet's paintings as scores, we discover how brushstrokes, shapes, and compositional relationships, can generate ideas. The longer we look, the more rich and complex our discoveries become.

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Care Collective as Relational Score 

The concept of a score isn't limited to music or visual arts. Scores can also provide a framework for exploring care and human relationships. Park McArthur and Constantina Zavitsanos use instructional scores to explore care giving and receiving through their "care collective," which assists with McArthur's daily routines as a wheelchair user. Their scores examine how utilitarian acts like lifting and dressing create unexpected intimacy between bodies, challenging traditional frameworks of care work by revealing how practical needs and tender exchanges intersect.

ConvivialityCare.jpg

Park McArthur and Constantina Zavitsanos, Other Forms of Conviviality: The best and least of which is our daily care and the host of which is our collaborative work (subtext_qtrg, 6 Sept. 2020)

Transforming Care Through Creative Practice 

We can transform how we care for each other by thinking of it as a creative practice. Examples like Larry Supnet's art and Park McArthur and Constantina Zavitsanos's care collective demonstrate that visionary care is a collaborative and creative act. These approaches challenge the institutional model. They are living artworks, which are responsive, generative, and evolving. In these examples everyone is a creator and a participant in building a more connected and imaginative world.

 

MAPS

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Ruth Van Order’s Collages as Visionary Maps

Ruth Van Order’s maps, part quilt (handmade, domestic), part science fiction blueprint (imagining future worlds), part instruction manual, and part personal story, represent a vision of imaginary places where everyone has access to food, water, education, and care. Van Order's map collages are models for visionary mapping. 

 

Van Order’s large-scale collage-maps are made with standard size (8.5 x 11”) graph paper, and common drawing tools like pens, pencils, highlighters and markers. Van Order creates her work in sections in her apartment, then puts them together and laminates layers of drawings with scotch tape. Ben Ricker describes Van Order’s work as “an evolving map that is part quilt, part science fiction utopia blueprint, part how-to guide, part autobiography” (Ricker). The image above shows one of Van Order’s immersive collage maps. It is approximately twelve feet across and six feet wide.

Ruth Van Order.jpg

Visionary Spaces for Visionary Futures

Visionary places exist in community-focused creative and emergent workshops, studios like OUTPOST 1000 (Corvallis), the former Project Grow (Portland), and Creative Growth Art Center (San Francisco). Creating and sustaining them requires individuals with enough conviction to actually envision a better future, and then build it.

 

Our imaginations center us in dreaming up and building more adaptable futures together. Maybe the most regenerative act emerges from a change in perception, where we learn to see more and differently, and to trust in the creative intelligence that emerges from those differences. By recognizing people with disabilities as creative leaders and essential collaborators, we can move beyond mere accommodation to build a more adaptable and equitable future for everyone.

 

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WORKS CITED:

 

Berger, John. Ways of Seeing. Penguin Classics, 2008.

 

de Fonseca-Wollheim, Corinna. "Stop, Think, Feel and Then Perform." The New York Times, 24 Sept. 2024.

 

Fairview Training Center: History in the Making. Salem: Oregon Human Resources, 1993.

 

McArthur, Park, and Constantina Zavitsanos. "Other Forms of Conviviality." Women & Performance, 30 Oct 2013. https://www.womenandperformance.org/ampersand/ampersand-articles/other-forms-of-conviviality.html.

 

Queer Theory Reading Group. Instagram, 6 Sept. 2020, www.instagram.com/subtext_qtrg/.

 

Ricker, Ben. “Welcome to the Accidental Art Hotel An historic building in downtown Corvallis is keeping secrets” Eugene Weekly, 9 Feb 2017. https://www.eugeneweekly.com/2017/02/09/welcome-to-the-accidental-art-hotel/

 

Supnet, Larry. Artist Statement, 2017.

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