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

My (very) simplified solution to building a freestanding wall is to attach my boards together to make a freestanding structure that is flexible at the seams. My aim with this is to mainly pull the work away from the walls and into the space allowing the audience to move around the work and view it from different perspectives, but to also subtly introduce the idea of structure into my work. To do this I decided to purchase some door hinges to screw into the backs of the boards

When thinking about how to install these boards into my assigned install space, I wanted to try and subtly reflect my working space. I had the idea of pinning up a couple boards the same way I have them pinned up in my studio space, as well as having a couple on the floor leaning against the wall. I was also thinking about having some boards flat on the ground as a nod to how I prefer to work on the floor. I recieved a suggestion to install the works as a freestanding structu

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