Artistic Experience of the Visually Impaired: A Qualitative Study on the Process of Creating Clay Media Artworks for Low Vision in Indonesia

Abstract

This study explores the artistic experiences of individuals with low vision in creating clay-based artworks at the Pandawa Social Home for Blind Sensory Disabilities in Kudus Regency, Indonesia. The research used a qualitative, descriptive-exploratory design, and fifteen participants with varying levels of visual impairment were involved. Data were obtained through in-depth interviews, observations, and analysis of their clay creations. The findings reveal that clay, with its tactile qualities, serves as an effective medium for creative expression, enabling participants to explore form through touch and pressure. This process supported the development of fine motor skills, creativity, and self-confidence while fostering emotional well-being and social interaction. Participants relied on memory, imagination, and sensory perception to produce artworks that held personal and aesthetic meaning, despite differing from conventional visual standards. The study underscores the therapeutic benefits of clay art and highlights the crucial role of supportive environments—families, educators, and art communities—in nurturing creativity and enhancing the quality of life for individuals with visual impairments. The limitations of this study include its small sample size, its single-institution approach, and its focus on clay. Future research should expand the participant pool, explore other accessible art media, and examine the long-term impact on psychosocial development.

1. Introduction

Art is a form of human expression that not only functions as a medium of communication but also as a means of therapy, education, and self-empowerment. In the context of an inclusive society, access to art is a fundamental right that must be guaranteed for every individual, including those with visual disabilities [1,2]. In Indonesia, attention to the artistic experiences of people with low vision or visual impairments is still very limited, both in terms of research, policy, and practice in the field [3]. Art has great potential to improve the quality of life, self-confidence, and social participation of people with visual disabilities [4].

People with low vision often face various barriers in accessing arts activities, especially those that are visually based. These barriers do not only come from physical limitations, but also from a lack of environmental support, a lack of disability-friendly facilities, and a lack of understanding by the community and art educators about the special needs of this group [5]. In addition, the dominance of the visual paradigm in art education tends to ignore other sensory potentials such as touch, sound, and movement, which can actually be important entry points for individuals with visual impairments to explore and express themselves creatively [6].

One of the most tactile and experiential artistic media is clay, which allows individuals to engage both physically and emotionally in a creative process. Clay work not only develops fine motor skills and spatial awareness but also provides a channel for self-expression and reflection. In this context, the clay method is situated at the intersection of art education, personality development, and therapeutic practice. Clay modeling and ceramics have been central to human culture for centuries. As a form of artistic activity, working with clay engages sensory, motor, and cognitive processes simultaneously. It requires coordination, concentration, and problem-solving, while also fostering creativity and imagination. Golomb [7] highlights that clay work can enhance perceptual-motor integration and creative thinking. Moreover, the tangible and transformative nature of clay—being molded, shaped, and fired—offers learners a unique experience of creation that strengthens both technical skills and aesthetic sensibilities [8].

Beyond its artistic value, engagement in art contributes to holistic personality development. Creating art nurtures self-esteem, resilience, and social skills, while also fostering emotional intelligence and identity formation. Working with clay, in particular, can provide individuals with opportunities for autonomy, patience, and perseverance as they witness the transformation of raw material into meaningful objects [9]. For adolescents and young learners, the process of artistic creation is linked to the development of problem-solving skills, emotional regulation, and a sense of agency [10].

In the therapeutic domain, art is recognized as a powerful non-verbal form of communication. Art therapy provides individuals with a safe environment to explore emotions, process trauma, and develop coping mechanisms. Clay work in therapy has specific benefits: its tactile nature fosters grounding and sensory regulation, while the act of shaping and reshaping promotes flexibility, emotional release, and self-discovery [11]. Studies in art therapy emphasize that working with clay helps reduce anxiety, improve mood, and facilitate communication in individuals who struggle with verbal expression [12,13]. From this perspective, clay is not only an artistic material but also a therapeutic medium that bridges the gap between inner experience and outward expression.

Clay is an art medium that has tactile characteristics that are very suitable as a means of creative exploration for low vision individuals. Through the activity of forming, touching, and manipulating clay, individuals with visual impairments can develop spatial perception, imagination, and aesthetic experiences that are unique and different from visual experiences [14,15]. Research in various countries shows that tactile-based art, such as sculpture, ceramics, and clay installations, can improve fine motor skills, strengthen spatial concepts, and provide emotional satisfaction for people with visual disabilities [16,17]. However, in Indonesia, studies on the artistic experience of low vision in creating artwork from clay are still very limited, both in terms of the creative process, pedagogical approach, and documentation of the subjective experiences of the actors.

This is reinforced by the fact that art education in Indonesia is generally still oriented towards the final results of visual works, so that tactile-based creative processes receive less attention. The curriculum and art learning methods applied in schools and art training institutions have not fully accommodated the special needs of people with low vision [18,19]. As a result, individuals with visual impairments often feel marginalized and do not get equal opportunities to participate in art activities [20]. In fact, with the right approach, they can produce works of art that are no less meaningful and aesthetically valuable than individuals without disabilities.

Wexler [15] and Potočnik et al. [21] emphasize that the artistic experience of people with visual disabilities is not only important in terms of individual empowerment but also as part of social transformation towards a more inclusive and equitable society. Bux & van Schalkwyk [22] state that active involvement in the arts can improve quality of life, strengthen self-identity, and open up socio-economic opportunities for people with disabilities. On the other hand, tactile-based art, such as clay art, can also be a means of education for the wider community to understand and appreciate the diversity of human experiences in creating and enjoying works of art.

Therefore, based on the background above this study aims to: (1) explore the perception of low vision beneficiaries in creating art using clay media at the Social Service Center for the Blind Sensory Disability “Pandawa” Kudus Regency; (2) explore the process of artistic experience of low vision beneficiaries in creating art using clay media at the Social Service Center for the Blind Sensory Disability “Pandawa” Kudus Regency; and (3) discribe the results of artistic experience of low vision beneficiaries in creating art using clay media at the Social Service Center for the Blind Sensory Disability “Pandawa” Kudus Regency. With these objectives, this study can make a significant contribution to more inclusive knowledge and art practices, highlighting the role of art as a medium for self-expression, confidence-building, and sensory exploration among visually impaired individuals in Indonesia.

Based on the objectives above, the research questions were developed as follows:

(1)

How do individuals with low vision in Indonesia experience the process of creating artworks using clay media?

(2)

What perceptions do low vision individuals hold about clay as an artistic medium?

(3)

How do they engage in and navigate the process of creating clay artworks?

(4)

What meanings, values, and skills emerge from their artistic experiences with clay media?

2. Materials and Methods

2.1. Research Design

The study employed a qualitative, descriptive-exploratory design focusing on understanding the experiences and creative processes of individuals with low vision in making clay art. The researcher focuses on how participants experience, interpret, and give meaning to the creative process. The study was conducted at the Pandawa Social Service Center for the Blind in Kudus Regency, Central Java. This institution specializes in providing rehabilitation services for individuals with sensory disabilities, particularly those with visual impairments, including those diagnosed as blind.

2.2. Research Methods

The purposive sampling method was chosen because this study emphasizes individual experiences and specific creative processes that focus on clay media stems from its tactile nature, which aligns with the sensory abilities of individuals with low vision [10,23,24]. Figure 1 illustrates a qualitative conceptual framework that describes the contextual aspects influencing the artistic experience of low vision beneficiaries in clay art. It highlights six contributing elements—age, years of education, assessment results, sensory modalities, initial responses, and prior knowledge—each connected to the central focus through directional arrows [25]. These arrows signify that the factors do not act as measurable variables but rather as contextual dimensions shaping the participants’ lived experiences. The dashed arrow represents the collective contribution of these aspects, suggesting that the artistic process of low vision individuals emerges from the interplay of personal, educational, and sensory experiences.

2.3. Participants

Fifteen participants formed the core of the study. Each met the World Health Organization definition of low vision: individuals with visual acuity worse than 6/18 but equal to or better than 3/60 in the better eye with optimal correction [26]. Selection criteria were participants who had adequate tactile sensitivity and motor coordination required to interact with the clay material. Ethical approval was obtained through institutional channels, and informed consent was obtained from each participant or their legal guardian.

Table 1. Demographic Information.

Respondent ID	Age	Gender	Level of Vision	Onset of Impairment	Prior Artistic Experience
R01	22	Female	Can perceive light and shadow only	Congenital	None
R02	35	Male	Can distinguish large shapes and colors	Acquired (at age 18)	Some (school crafts)
R03	31	Female	Total blindness	Congenital	Some (music)
R04	19	Male	Can perceive light and motion	Congenital	None
R05	32	Female	Total blindness	Acquired (at age 25)	None
R06	28	Female	Can distinguish large shapes	Congenital	Extensive (hobbyist weaver)
R07	31	Male	Can perceive strong colors	Acquired (at age 12)	None
R08	38	Female	Total blindness	Congenital	Some (school crafts)
R09	25	Male	Can perceive light and shadow only	Congenital	None
R10	39	Female	Total blindness	Acquired (at age 30)	None
R11	21	Male	Can distinguish large shapes and colors	Congenital	Some (drawing)
R12	25	Male	Can perceive motion and large shapes	Acquired (at age 5)	Extensive (wood carving)
R13	33	Male	Total blindness	Congenital	None
R14	29	Female	Can perceive light and shadow only	Acquired (at age 22)	None
R15	33	Female	Total blindness	Congenital	Some (music)

shows the demographic respondents of this study.

2.4. Research Instrument

This study employed three qualitative research instruments—interviews (Appendix A), observations (Appendix B), and document analysis (Appendix C)—to gain an in-depth understanding of the artistic experiences of visually impaired participants in creating clay media artworks. The semi-structured interview served as the primary instrument to explore participants’ sensory, emotional, and cognitive engagement throughout the creative process, allowing for flexibility in probing individual experiences [27]. Complementing this, a non-participant observation guide was utilized to record behaviors, tactile interactions, and adaptive techniques demonstrated during the clay modeling sessions, enabling the researcher to capture naturalistic expressions of creativity within the learning environment. In addition, document analysis was conducted on participants’ artworks, reflective journals, and instructional materials to triangulate findings and provide contextual depth to the observed phenomena. These three instruments collectively facilitated data triangulation and ensured the credibility and richness of the study’s interpretation. By integrating multiple data sources, the instruments provided a holistic understanding of how individuals with low vision navigate sensory challenges, express artistic identity, and construct meaning through the tactile engagement of clay, aligning with the phenomenological orientation of the study [28].

2.5. Data Collection

Qualitative data collection included in-depth interviews, non-participant observation, and document analysis. Interviews followed the principles of Interpretative Phenomenological Analysis (IPA) developed by Smith et al. [29], which facilitated the exploration of participants’ subjective experiences and emotional interpretations of their engagement with clay. The interview protocol consisted of open-ended questions covering topics such as tactile perception, emotional resonance, artistic preferences, memory, and the role of imagination in their creative process. Field observations were conducted during six weeks of guided clay art sessions, and each session lasted approximately 60–90 min. The researcher documented each participant’s behavioral and expressive dynamics, focusing on how they manipulated clay, responded to various textures, and demonstrated aesthetic preferences through form-making. Observations also captured their interpersonal interactions, adaptive strategies for material engagement, and moments of creative breakthrough or hesitation.

In addition to interviews and observations, the study incorporated document analysis of clay artwork and instructional notes. Each participant created a portfolio of clay artwork that was assessed using a rubric adapted from the Art Therapy Credentials Board (ATCB), which included indicators such as cohesion of form, structural complexity, textural detail, and thematic integration. To ensure inter-rater reliability, two independent evaluators analyzed the artwork using the rubric, and Cohen’s Kappa coefficient was 0.82, confirming acceptable reliability.

Validity was maintained through in-depth, semi-structured interviews designed to allow participants to express their lived experiences openly. The interviews followed the idiographic commitment of IPA—focusing deeply on each participant’s perspective before identifying shared meanings across cases. Member checking was applied by returning transcribed data and interpretations to participants to verify accuracy and resonance with their intended meanings.

Meanwhile, the reliability was ensured through a transparent audit trail, documenting every step of data collection and analysis—from interview design to coding and theme development. The researchers maintained consistency by adhering to the double hermeneutic process, where both participant interpretation and researcher interpretation of that experience were reflexively considered.

2.6. Data Analysis

Data were analyzed using Interpretative Phenomenological Analysis (IPA). Interview transcripts, observation notes, and documents were read repeatedly, coded inductively, and clustered into emerging themes to capture participants’ subjective experiences. Observational data were triangulated with interview findings to identify behavioral patterns, adaptive strategies, and emotional expressions during clay work. Document analysis of clay artworks used a rubric adapted from the Art Therapy Credentials Board (ATCB), focusing on cohesion of form, structural complexity, textural detail, and thematic integration. To enhance reliability, two independent evaluators assessed the artworks, with inter-rater agreement confirmed by Cohen’s Kappa (0.82). These analytic steps led to the identification of core thematic areas reflecting tactile exploration, adaptive approaches, and emotional expression in participants’ creative processes.

3. Results

3.1. Techniques and Creative Processes of Low Vision Beneficiaries Towards Clay Materials

Based on information from participant R01, clay materials were familiar to his life while in SDLB-A (Special Elementary School for the Blind Category). The introduction to clay materials experience was an environmental orientation learning given by SDLB-A teachers. Participant RR2 also explained the desire to make eating utensils such as bowls, plates, and other pottery. Another experience in making art with clay media was when participant R01’s parents taught him how to play with the remaining soil when making a well behind his house. Participant R01’s knowledge was used to realize ideas and concepts in making art with clay media. This was explained by the researcher in the following interview results:

“I got to know clay materials during school learning, and together with friends were introduced through hand touch to identify the clay. I also played with friends at home when making a well at home, and I wanted to try making bowls, plates, and other eating utensils, which I hope can become objects that can be used for everyday needs”.

From the explanation of participant R01, the desire to realize making artwork with clay media is perceived as an applied art object for everyday life. This demonstrates the significant effort involved in producing artwork using clay, drawing on cognitive insights gained during childhood and previous artistic experiences.

Furthermore, the response of participant R11 regarding clay materials was obtained from knowledge gained during SDLB-A education. Learning about concrete objects and the surrounding area was taught by their teachers to make basic shapes with clay materials. The artworks created were limited to knowledge of basic techniques for making three-dimensional works from clay, in identifying simple shapes. This was explained in the interview results with participant R11 as follows:

“When I was taking lessons at SDLB-A, the teacher asked me to hold clay by feeling and squeezing it. The teacher asked me to form various shapes from my fists to produce shapes like small balls, plates, and asked me to combine the shapes. What I remember at that time was making fruit shapes and people shapes. Back then, my friends at SDLB-A were very happy and enthusiastic about the lesson. It is possible that if there are more activities like that, I will feel challenged to create works of art using clay that suit my wishes, namely wanting to make animal statues”.

The experience of creating art with clay media has been experienced by participant R11 by creating artwork to introduce the character of clay materials and form simple shapes. It is hoped that with the activity of creating art with clay media, they will later have ideas for creating better forms.

Besides, participant R02’s perception of clay material is so complex because the case of his visual impairment began in adolescence. It has been formed like a sighted person who has been constructed from real-life experiences. The contact of the five senses before the occurrence of visual impairment has been felt from experiences of creating art from an early age to adulthood. Participant R02’s desire is not as strong as compared of other participants in responding to the initial perception of the activity of creating art with clay media. This is explained through the following interview statement:

“I used to do various art activities when I had normal vision. When I was a child, until I was an adult, I could understand how to create art, especially using clay, from kindergarten to high school. I have various experiences in creating art with clay media, such as making statues, pottery, and playing with clay. I often got that knowledge from junior high and high school in the Arts and Crafts (SBK) subject. In the past, during SBK learning, my teacher assigned me to make a face sculpture artwork and also told me to make pottery with the motif.”

The clay art activities experienced by participant R02 have been carried out in a structured manner in formal education. The case of experience experienced by participant R02 is the same as most people are aware that clay art learning is carried out in the art education system in secondary schools.

In general, the results of the study showed that most low vision beneficiaries have known clay since childhood, either through play activities in the home environment or learning in special needs schools (SLB). The analysis revealed that low vision beneficiaries demonstrated unique tactile-based techniques and adaptive creative processes when engaging with clay materials. Participants primarily relied on haptic perception—using touch, pressure, and temperature sensitivity—to explore the texture and form of clay. This sensory engagement enabled them to internalize spatial awareness and develop individualized sculpting strategies. The creative process unfolded through a sequential pattern: exploration, manipulation, refinement, and emotional expressions [30]. During exploration, beneficiaries identified the material’s properties through repetitive touch, while in manipulation, they used both hands simultaneously to balance proportion and symmetry. The refinement stage involved repetitive adjustments guided by tactile feedback, replacing the visual cues typical in sighted artists.

Emotionally, participants expressed satisfaction and autonomy, indicating that clay art fostered self-confidence and a sense of achievement. The data also showed that collaborative environments—where peers or instructors provided verbal cues—enhanced creative fluency and confidence in shaping forms [31]. Overall, the findings highlight that the beneficiaries’ techniques were not limited by visual impairment but instead redefined creativity through sensory substitution, emphasizing the adaptability of artistic cognition. This tactile-centered creativity underscores the inclusivity of clay art as a medium for enhancing fine motor coordination, sensory integration, and emotional expression among individuals with low vision.

3.2. The Skill Development and Motor Improvement of Low Vision Beneficiary Artistic Experience in Creating Art with Clay Media

The results demonstrate that creating art with clay media significantly contributed to both skill development and motor improvement among low vision beneficiaries. The participants engaged in a series of tactile-based activities that progressively refined their fine motor coordination, sensory perception, and manual dexterity. In Figure 2a, the use of massage techniques allowed participants to familiarize themselves with the clay’s texture and density, enhancing tactile sensitivity and hand flexibility. Figure 2b shows direct shaping, where beneficiaries applied controlled pressure and hand strength to form the clay, stimulating muscle endurance and bilateral coordination. Meanwhile, Figure 2c captures the clay plate technique, which required precise flattening and symmetry control, promoting spatial awareness and proportion judgment through tactile feedback. Finally, Figure 2d demonstrates the twisting technique, which reinforces wrist movement, grip stability, and rhythmic motion, crucial for improving upper-limb motor control.

Through these stages, participants developed greater physical confidence, patience, and persistence. The iterative tactile interaction not only strengthened hand muscles but also cultivated cognitive planning, self-regulation, and emotional satisfaction. Overall, the clay art-making experience functioned as a holistic learning process, merging sensory, motor, and affective domains—highlighting art’s rehabilitative and developmental potential for low vision individuals.

The analysis revealed that the process of creating art with clay significantly enhanced the beneficiaries’ fine motor skills, hand–eye coordination (through tactile compensation), and sensory-motor integration. Participants exhibited progressive improvement in muscle control, finger dexterity, and pressure modulation as they manipulated the clay to form shapes and textures. The repeated act of molding, pressing, and smoothing the medium functioned as a form of embodied learning, where sensory feedback guided continuous motor refinement [32]. Over time, beneficiaries demonstrated more precise movements and greater confidence in shaping three-dimensional forms, reflecting both skill acquisition and physical adaptability.

Cognitively, these motor improvements were intertwined with creative awareness—participants developed stronger spatial reasoning through touch-based exploration and mental visualization of shapes. The activity fostered perseverance, patience, and discipline, as creating consistent forms required repetitive, goal-oriented actions [33]. Emotionally, the beneficiaries expressed pride and motivation as their manual abilities improved, perceiving art-making as both therapeutic and empowering. This aligns with findings from tactile-based art therapy studies emphasizing art as a rehabilitative and developmental tool for individuals with visual impairment. Overall, the results indicate that clay art serves not only as an expressive outlet but also as a medium for enhancing psychomotor coordination and cognitive-motor synergy among low vision beneficiaries.

3.3. The Perseverance, Discipline, and Focus of Artistic Experience for Low Vision Beneficiaries

The number of artworks with clay media produced by low vision beneficiaries differs in each activity meeting that has been carried out. The meaning of the artworks with clay media that have been carried out by low vision beneficiaries can be viewed from various aspects of aesthetic value. The results of the meaning of artworks with clay media in this research study have a meaningful form (signification form) for the aesthetic experience of low vision beneficiaries. More specifically, Zhang & Wei [17] emphasize that works with clay materials have a uniqueness that lies in the technical aspects, functionality, and aesthetic expression made by their creators.

Various works of art created are aesthetic objects related to natural objects and cultural objects [34]. The themes that encompass the creation of works of art with clay media as a representation of the experience and life of a creator [35]. Based on the analysis document results, the researcher took two examples of work data as a representation of the product analyzed based on aesthetic form. The researcher conducted an analysis of the results of works of art with clay media by describing the research findings in the form of an aesthetic analysis recap matrix, which can be seen in

Table 2. Results of Artworks Using Clay Media.

No.	Documentation of Artworks	Identity of Artwork	Analysis of the Work
1		Title of Work “Frog” Size: 11 cm × 10 cm × 6 cm Media made of clay	The shape of the object produced using a pinch massage technique by forming an animal in a symmetrical position. The addition of objects is used to produce components of the shape on each side of the object
2		Title of Work: “Ashtray of Love” Size: 10 cm × 10 cm × 2 cm Media made of clay	Applying subtractive techniques to form depressions in clay materials in an effort to produce a central indentation in the artwork
3		Title of Work: “Kura-Kura” Size: 7 cm × 9 cm × 2.5 cm Media made of clay	The creation of the work was carried out using the addition of clay materials with a plate technique and elements of cross or zig-zag lines as texture accents on the artwork
4		Title of Work “Small Jug” Size: 9 cm × 6 cm × 10 cm Media made of clay	Forming clay material using a wooden rod construction inside using a twisting technique

.

The analysis revealed that the artistic experience of working with clay media cultivated strong qualities of perseverance, discipline, and focus among low vision beneficiaries. Participants demonstrated remarkable persistence in overcoming initial challenges related to tactile unfamiliarity, coordination, and shaping accuracy [36]. Through repeated trials and error, they developed adaptive strategies, such as refining touch pressure and reorganizing work sequences, which reflected growing resilience and determination. This process of continuous adjustment and self-correction became a key indicator of perseverance in their creative journey [37].

Discipline was manifested in the participants’ structured working habits—cleaning workspaces, preparing clay, and following step-by-step procedures independently or with minimal guidance. These disciplined behaviors emerged from their desire to complete tasks precisely, reinforcing responsibility and consistency in practice. Focus was evident through sustained attention during clay manipulation, where beneficiaries immersed themselves fully in tactile engagement, often losing awareness of time. The concentration required to balance form, symmetry, and texture strengthened their cognitive endurance and mindfulness.

Overall, the clay-based artistic process acted as both a creative and therapeutic exercise, promoting emotional regulation and attentional stability. The experience empowered participants to sustain motivation, manage frustration, and internalize patience—demonstrating how art-making can effectively nurture psychological resilience and self-discipline in individuals with low vision.

4. Discussion

Based on the results show that the participants consistently demonstrated the ability to interact with the clay medium in highly expressive and cognitively structured ways. Their reliance on haptic perception—particularly the nuanced use of touch to understand form, texture, and spatial configuration—supports the argument that artistic engagement extends beyond the visual domain. Previous studies in sensory aesthetics echo this perspective, underscoring the role of embodied perception in constructing artistic meaning [38,39]. In this context, the hand not only acts as a tool for shaping matter but also as an organ of perception capable of interpreting and manipulating artistic language.

The role of memory and imagination emerged as key mechanisms through which participants internalized and externalized their experiences. While those with postnatal vision loss relied on visual memory to guide their clay modeling, individuals with congenital low vision or prenatal blindness constructed representations based on auditory cues, tactile memory, and imaginative synthesis. Giles [40] emphasized the different neurocognitive strategies used by individuals depending on the onset and severity of their visual impairment. In artistic terms, these sensory compensations often resulted in unique aesthetic expressions. Rather than conforming to traditional standards of visual balance or realism, participants produced forms characterized by asymmetry, abstraction, and greater textural detail. Disability aesthetics theory interprets these features not as technical deficiencies, but as valid aesthetic alternatives that expand the parameters of art appreciation [41]. The tactile complexity and affective depth found in the artworks underscore the importance of rethinking artistic value through a pluralistic lens that accommodates non-visual modalities.

The relationship between artistic expression and psychosocial development also requires further reflection. Participants described their engagement with clay not only as a means of channeling creativity, but also as a therapeutic process that allowed them to process emotions, build self-esteem, and express their inner experiences. These findings align with art therapy literature, which positions artistic creation as a medium for psychological integration and self-actualization [29,42]. Furthermore, participants’ statements indicate a shift in self-concept—from internalizing social stigma to recognizing themselves as capable and expressive agents. Shapiro [43] argued that the process of expressing one’s reality through creative means is an act of liberation. The social implications of this experience are equally important. As participants gained confidence in their artistic abilities, they began to assert themselves more actively in group settings. Their engagement with the artistic process fostered a sense of belonging and cultural participation that was previously inaccessible due to prevailing social stigma. Indonesian cultural norms often treat people with disabilities as objects of pity or dependency [44].

By enabling participants to produce artwork that is seen and appreciated, the program changes that perception and reframes them as creators and contributors within their communities. This study also shows that artistic experiences through the creation of clay artwork have positive psychological and social impacts. Beneficiaries feel more appreciated, can actively participate in art activities, and gain space for self-actualization amidst the visual limitations they experience. Furthermore, this study shows more specific benefits regarding the impact of art activities, such as fine motor development, perseverance, discipline, and strengthening social interactions. Studies indicate that engaging in artistic practices enhances fine motor skills by promoting precision, coordination, and tactile sensitivity through repetitive hand movements [45]. For instance, clay modeling and drawing have been found to improve finger dexterity and hand–eye coordination in both children and adults [46].

Moreover, art participation fosters perseverance and discipline, as creative processes often require sustained attention, iterative problem-solving, and delayed gratification [47]. This aligns with findings that regular engagement in art education correlates with higher self-regulation and task persistence [48]. Additionally, collaborative art projects significantly enhance social interactions by creating spaces for empathy, communication, and shared meaning-making [49]. In particular, collective art-making has been linked to increased social cohesion and emotional bonding among participants [50]. These findings suggest that artistic experiences not only stimulate cognitive and motor growth but also cultivate essential affective and interpersonal skills, reinforcing the role of art as an integral component of holistic education and psychosocial development.

5. Conclusions

This study demonstrates that clay art enables individuals with low vision to perceive, experience, and create artwork through tactile exploration, imagination, and adaptive strategies, thus affirming the medium’s value as both artistic and therapeutic. In addition to fostering creativity, this process improves participants’ fine motor skills, self-confidence, emotional well-being, and social interactions, while emphasizing the crucial role of a supportive environment in nurturing inclusive arts practices. These findings contribute to inclusive arts education in Indonesia by positioning clay as a replicable model for engaging non-visual senses in creative learning.

6. Limitations of the Study

This study’s limitations include a relatively small sample size, its implementation within a single institutional context, and its exclusive focus on clay as the art medium. Therefore, future investigations are encouraged to involve a broader range of participants, incorporate diverse and accessible art forms, and assess the sustained effects on psychosocial development over time.