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

Reading Aims and Methods of Note-Taking , by Turkan Mehraj Ismailli, has prompted me to rethink what note-taking might mean within my artistic practice. Rather than understanding notes simply as preparatory material for an artwork, I am beginning to consider note-taking itself as a form of making—a live, cognitive, and material process that could be the artwork. The text frames note-taking as an active intellectual and embodied activity rather than a passive recording of info

Ways of Seeing Lauren Simons, 2025 This body of work investigates perception as an embodied, neurodivergent process. For me, drawing becomes a living record of cognition and sensation — what I have described as a kind of mind-map, a way of documenting what happens in my head as it unfolds. Rather than beginning with a predetermined outcome, the work develops through a position of not-knowing, allowing each work to emerge through chance, interruption, and iterative layering. I

My designated install space (highlighted by blue circle) is a smaller space with a large window allowing for plenty of natural light to come in. Visualising my work in the space I plan to hang the majority of the drawings on the longer wall, with a couple on the smaller wall in the back right. The artist statement will hang on the wall that juts out slightly. By starting to place the drawings into groupings, I was able to create links and connect the drawings together where o