Today I visited the Melanie Roger Gallery which was holding a one-day-only exhibition and live event. The attending audience were invited (under set conditions) to cut and take away a piece of Matt Ellwood's drawing for free. "... Matt has drawn the very first Saint Laurent image photographed by Hedi Slimane to appear in Frieze (March 2013, Issue No. 153), as a fitting image to be cut up. Ellwood has also prepared 35 substrates only, and the audience are invited -on a first i

I have been wanting to try something a little different for a while now. Throughout the many years of my art practice, there have been two constants that have continuously ran through my process of working. The first; I have a desk that I do not use. My desk has always been used as a place of storage rather than a work area. I like to work on the floor, either layed down or sat down. I find it a much more comfortable way to work as I can position myself so that my body works

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