How can we better understand the process of therapeutic art-making for stroke rehabilitation, and what are design opportunities for virtual reality art-making for people with stroke-related impairments? We investigated this question in a two-part study with 14 amateur artists with disabilities resulting from stroke: a three-week field study and a technology probe consisting of experiential virtual reality interviews. We uncovered what participants made, the aesthetics of the materials and the process of making. The field study revealed inspirations around identity, situatedness of choices for tools in the social and physical environment, and a breadth of application techniques (e.g., dripping paint or use of tape) that varied in need for fine motor control. The experiential virtual reality interviews highlighted the need for control, the affordances of the medium, and the challenges in viewing and reflecting on work. Emergent art reflected qualities of the 3D paint and free-form gesture. Virtual reality and traditional art-making contrasted in the speed and finality of application, opportunities for iteration and reflection, and in the need for dexterity. We discuss strengths, weaknesses and implications for design of virtual reality art-making for those with stroke-related impairments.

我们如何才能更好地了解中风康复治疗艺术的过程，以及对中风相关障碍患者进行虚拟现实艺术创作的设计机会是什么？我们在一项由14名中风引起的残疾业余艺术家的分为两部分的研究中调查了这个问题：一项为期三周的实地研究和一项由体验式虚拟现实访谈组成的技术探究。我们发现了参与者的作品，材料的美学和制作过程。现场研究揭示了关于身份，社会和自然环境中工具选择的位置以及各种应用技术（例如滴油漆或使用胶带）的灵感，这些技术需要精细的电机控制。体验式虚拟现实访谈强调了控制的必要性，媒介的负担能力，以及在观看和反思工作方面的挑战。新兴艺术反映了3D绘画和自由形式手势的质量。虚拟现实和传统艺术创作在应用程序的速度和最终性，迭代和反思的机会以及灵活性的需求方面形成了鲜明的对比。我们讨论了中风相关障碍者在设计虚拟现实艺术时的优点，缺点和含义。