born with multiple disabilities.
Lazen was already 25 weeks
pregnant. She explains that
although her views were pro-
choice, she feared the risks of
having a late term abortion and
“chickened out.”
While pregnant she researched
programs designed for people
with developmental disabilities.
Her motivation was to connect
with programs serving that pop-
ulation in order to “build a com-
munity, get some support, and
form relationships.” She hoped,
thereby, she could learn how to
best provide her daughter with
an opportunity for a rewarding
life. But when she volunteered,
what she found profoundly dis-
turbed her. She says, “I found
paper plates, popsicle sticks,
macaroni, glue and paper - crafts
designed to keep people busy
for a few hours” - without actu-
ally teaching them about art.
She says she believed such pro-
NJ STAGE 2017 - Vol. 4 No. 9
grams grossly underestimate the
inherent artistic talent that many
people with disabilities possess.
She was convinced that their na-
scent artistic gifts were not be-
ing tapped by these programs
and could be reached with the
right education.
During this time she became
familiar with the “outsider art
movement” – forms of creative
expression outside of accepted
cultural norms. In particular, she
was inspired by the work of Ju-
dith Scott, an artist with Down
Syndrome whose work became
internationally famous, particu-
larly in Japan. “Her disability fell
away and her identity as an artist
is what shined forth,” Lazen ex-
plains. At the same time, she was
inspired by the nonprofit organi-
zation that provided Scott with in-
struction, materials and support,
called “Creative Growth,” locat-
ed in Oakland, California. Based
on the influence of Scott’s work
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