Pillars and freestanding structures occupy a unique position within contemporary art because they exist somewhere between sculpture, architecture, and display system. Unlike traditional sculptural forms that are often treated as self-contained objects, pillars frequently operate as supports for images, text, objects, or spatial experiences. They do not simply occupy space; they organise and divide it. Historically, pillars and columns have symbolised permanence, authority, an

I keep thinking back to the critique and the possibilities raised for future development. "The critique raised several possibilities for future development. Expanding the scale of the work, both physically and vertically, could intensify the bodily relationship between viewer and installation. There was also discussion around developing the architectural qualities further, potentially through the use of false walls or more immersive spatial structures. These suggestions reinf

Contemporary art has increasingly moved beyond the traditional relationship between artwork and wall. Rather than existing as isolated images to be viewed frontally, many contemporary works now operate spatially, asking the viewer to physically move through, around, or alongside them. This shift has altered not only how artworks are displayed but also how meaning can be produced. Structural and spatial approaches to art place emphasis on the relationship between object, body,

Work being critiqued: https://www.laurensimons.art/post/install-and-abstract Notes taken during critique: Felt pen/paint pen, pastel, acrylic paint on panel MDF sticker Words Tattoos Self portraiture Computers Printers Upside down (mixed orientation) Im not a robot - AI Room/install plan Self standing Spatial relationship Free of the wall - can see images Commercial/found Visually looks like its been printed Advertising qualities Very smooth Room divider - presentation boards

This practice-led research investigates drawing as a form of real-time note-taking, in which perception, cognition, and material process occur simultaneously. Situated within an inquiry into visual subjectivity and neuroodivergent perception, the work begins from the understanding that seeing is neither stable nor complete, but fragmented, contingent, and contiuously constructed. While John Berger's 'Ways of Seeing' positions perception as culturally conditioned, his model ma