Fayen d’Evie is an artist, writer, and curator, whose projects resist spectatorship by inviting audiences into sensorial readings of artworks. Since 2015, Fayen has been exploring the radical potential of blindness to disassemble the ocularcentric norms that constrain artistic and curatorial practice, and proposes that exhibition-making can be refigured as a dustcloud of sensorial conversation. This includes drawing on blindness to shape methods for: navigating uncertainty and the precarious; handling the intangible and the concealed; documenting ephemeral encounters through hallucinatory recall; inviting extreme myopic readings of artworks; expanding the perceptual space of publication; and animating intersensory translations, including ekphrastic audio description. Fayen has provided creative provocations and pedagogical guidance to numerous cultural institutions committed to more inclusive structures and more ambitious curation of disability-led practice.

Selected exhibitions include: With Cane in Hand, I Dance a Duet for One, for Two, for Three, for Four…, Museum of Contemporary Art (MCA), Sydney, 2022; Adelaide//International, Endnote: The Ethical Handling of Empty Spaces, SAMSTAG Museum of Art, Adelaide, 2021; The National, Art Gallery of NSW, Sydney, 2019; Eavesdropping, Ian Potter Museum of Art, Melbourne, 2018; ee//hm, KADIST, San Francisco, 2016; Beyond Exhausted, Physics Room, Christchurch, 2016; […] {…} […], Gertrude Glasshouse, Melbourne 2016; Human Commonalities, V.A.C. and the State Museum of Vadim Sidur, Moscow, 2016; Endless Circulation, TarraWarra Biennial, Healesville, 2016; Habits and customs of _______ are so different from ours…, Kadist, Paris, 2016; Foot-notes, 3rd Ural Industrial Biennial, Yekaterinburg, 2015.