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TIRED OF WAITING

AN EXHIBITION OF ARTWORK BY NEURODIVERGENT AND DISABLED ARTISTS. 

A NOTE FROM THE COLLECTIVE

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We're tired of waiting. For permission. For access. For opportunities. For spaces that recognise different ways of thinking, making and existing.

 

Too often, disabled and neurodivergent artists are expected to adapt to systems that were never designed with them in mind. Alongside working against the barriers that we place in front of ourselves.

 

But creativity doesn't happen on one schedule, and artistic value isn't determined by how comfortably someone fits into an existing system.

 

TIRED OF WAITING brings together work by neurodivergent and disabled artists whose practices, perspectives and experiences are as varied as the people behind them.

 

Flos Collective × Sophie Cotton

Click the artwork to view full size

A photograph of people’s shoes and legs on a sunlit tiled floor, casting long dark shadows in a warm indoor scene

Alina Longmore

Untitled

2026

Digital Collage

This series of photos was taken during a moment of rest, from a bench in a busy museum.

While dealing with chronic illness, it can feel frustrating needing more frequent rest than others around you. Busy environments are difficult to navigate - the blur of people’s feet rushing past as you slowly try to regain some strength.

Had this particular break not been needed, however, the way a fleeting stream of sunlight cast dancing shadows on an otherwise empty floor would likely have remained unnoticed – I too would have been rushing past.

Often, the quiet moments when you slow down, listen to your body, and just notice can spark more interest than when inspiration is actively being sought out.

Foggy gray seascape with centered bilingual text: Sitting still, Doing nothing, Spring arrives, Grass grows on its own.

Caiyun Chen

Anavatapta

2025/26

Performance, Video

Anavatapta

May 2025
6'20"
Performance, Video

https://chencaiyun.com/anavatapta

Anavatapta is a performance-based video work conceived and created by Caiyun Chen(陈采鋆)during an artist residency in Lhasa. The Tibetan calligraphy performance was carried out by Dorje Tsewang(多吉次旺,རྡོ་རྗེ་ཚེ་དབང་།), with filming support from MoCA Weland(介观艺术).

Anavatapta means "heat-free"; the waters of the lake were thought to be able to soothe the fires that torment living beings. At over 4,000 metres above sea level, every breath on the plateau is slow and heavy. Through a gesture of pilgrimage, the performer responds to the snow-covered mountains and to the plateau's natural environment under climate change. The Tibetan calligraphy was created using environmentally friendly ink. After filming, all materials were removed from the site, and the calligraphy was mounted and preserved as part of the performance.


Director / Editor: Caiyun Chen 陈采鋆
Performance: Dorje Tsewang 多吉次旺 རྡོ་རྗེ་ཚེ་དབང་།
Choreography / Performance: Caiyun Chen 陈采鋆
Camera Operator: Yeshi Rinchen 益西仁青 ཡེ་ཤེས་རིན་ཆེན།
Production Coordinator: Yi Wang 王毅
Sound Design: Caiyun Chen 陈采鋆
Music: Silent Dunes(静沙)/ Cloud Veins(云脉)
From 4 Reveries(四重遐想)by Caiyun Chen 陈采鋆
Special Thanks: MoCA Weland 介观艺术

released July, 2026


www.chencaiyun.com
@_chen_caiyun
caiyunchen2022@outlook.com

Mixed-media collage of three cat-like figures over Faust text, with bold black and gray paint and labels PERRCO, ARTIST, and welcome

Hannah Burdess / aka. Coconut Water

The Master And The Martini

2026

oil painting on collage

Both the book the piece takes it's title from and the opera at the base of the piece deal with a charming and manipulative devil. Ideas of greed, temptation, animal nature, all through the lense of the contemporary media. I rebuilt this idea with wristbands from a weekend in which I too felt swept up in all of the mess and magic.

Colorful layered CMYK print on white paper, with a hand silhouette and tiny screenshot text, lying on a wooden floor.

Kate Glenn

BeReal Therapy Outline CMY

2025

Monoprint on Somerset satin white paper 300gsm

Using a CMYK method of printing I converted one of my BeReal images into a four layer print and had a separate screen with the photo information taken from my iPhone. This was a day I was in the office I was working in and about to start outlining notes to talk to my therapist about before a session, when the app BeReal prompted a picture to be taken. This was one of my experimental, misaligned prints.

Three abstract textured canvases hang on a white wall, covered with looping yarn and cord in blue, pink, and black.

Logan Hattle

The Intimacy of Communication

2026

Acrylic and oil pastel on canvas, crochet, yarn, watercolour

This artwork is a series about communication as a neurodivergent person. The first piece explores the feeling of having pure and honest intent with your words just for them to be misconstrued when received by the person you are talking to. The piece reflects the frustration of being constantly misunderstood and feeling like every time you have a conversation you hit a wall where your words are flipped. The second piece is a response to the first and shows the feeling of being so tired of being misunderstood that you don't want to speak at all or find it physically difficult to speak. The piece shows the feeling of the words just being stuck and refusing to leave your mouth. The third piece of work conveys the feeling of finally finding somebody who you can talk to freely and not worry about being misunderstood or having your words twisted. It shows how it feels to find somebody who you feel alive with and the feeling you get when you are so comfortable with each other that your vocabularies start to blend. For many neurodivergent people this happens when we meet other neurodivergent people and feel safer with them.

A sketch of a person sleeping in bed with green floral patterns on their skin and laying on white pillows, on a plain background.

Ro Holmes

starting a revolution (in my bed)

2026

Pencil and coloured pencil on paper

In a world that wants us to be constantly moving; sometimes, the most rebellious act we can do is rest.

V Silver

Gloom

2026

Free verse poetry

To help reduce stigma in mental health discussions, the author would like to share that although written in 2026, this poem is inspired by (and in places comprised of) surviving fragments of various personal journal entries from 2021, written a few months before the author experienced a psychotic break.

Abstract painted portrait of a woman in glasses, with blue and red brushstrokes forming a face against a dark background.

Casper Wildland

Raging

2026

Digital Painting

Autistic people, like myself, have been known to express emotions including anger in ways that aren't considered conventional and this is an expression of how dehumanising it feels when an unconventional expression of anger isn't taken seriously

Mixed-media figure with purple barbed-wire wings and halo stands above the word PAIN on a textured gray-brown background.

D Rhodes

Relief

2025

Acrylic, collage, marker pen on A2 card

My aim in creating this self portrait is to literally put a face on hidden conditions such as fibromyalgia and other chronic pain conditions such as arthritis. I wanted to get across a visceral representation of it while also giving a few layers of complexity and perhaps even a bit of dark irony/humour. I don't know if I hit the mark, but I can say one thing with certainty: it feels good to try.

Gray cylindrical sculpture made of waste paper and cardboard pulp with gold slit-like windows made of empty blister packs repurposed from Prozac packaging, sat on a white surface against a beige wall.

Dawn-Marie Farmer / DeeFyne Design

Prozac Lamp

2026

Empty blister packs repurposed from Prozac packaging, waste paper and cardboard pulp, integrated light source

The Prozac Lamp explores value, disposability and the unintended waste created through caring for ourselves. Made from empty Prozac blister packs, waste paper and cardboard pulp, the work transforms the discarded by-products of medication into a functional light source.

The piece began with a simple contradiction: medication intended to support mental health can also create a stream of packaging that is immediately thrown away. That waste can carry its own discomfort and guilt, particularly within a culture increasingly conscious of what we consume and discard.

By allowing light to pass through the empty blister packs, the packaging is given a second role. What once contained something intended to help someone through a dark period now quite literally illuminates one.

There is an element of dark humour in that transformation. The work plays with the idea of “coming out of a dark place”, while asking whether something dismissed as waste might still have value, purpose or the ability to support us in another form.

Whimsical illustration of a childlike jellyfish girl floating underwater among glowing bubbles on a teal-blue background.

Ember Cant

JellyBaby

2026

Mixed media painting

Jellybaby is a mixed-media painting of a luminous jellyfish-child drifting through open water. The figure combines the rounded proportions and softness of a young child with the translucent bell and trailing tentacles of a jellyfish, creating something deliberately strange but gentle rather than frightening.

The piece developed from an interest in reimagining familiar fantasy creatures without relying on traditional mermaid imagery. Instead of giving the figure a fish tail, the lower body becomes jellyfish-like, allowing the human and marine elements to blend more completely. Glowing turquoise, purple and blue tones run through the figure and surrounding water, with the light appearing to come from the body itself rather than from an external source.

Although the subject is fantastical, the emotional tone is quiet and playful. The childlike face gives the creature vulnerability and warmth, while the unfamiliar anatomy keeps it slightly uncanny. That balance between sweetness and strangeness is important to the work.

Jellybaby sits within Ember Cant’s wider interest in hybrid bodies, transformation and imagined beings, but represents the softer and more whimsical end of their practice.

Black-framed abstract charcoal sketch on white paper, showing a distorted face wrapped in looping lines, moody and stark.

Gemma Campbell

Lungs of an Aberdonian

2025

TetraPak Etching on paper

Lungs of An Aberdonian, is a TetraPak Etching by Gemma Campbell of a gull behind a human ribcage. Campbell produced this work while expanding on her existing practice in monoprint through experimentation with different forms of printmaking. The drawn image was inspired by a feeling of being stuck, and unable to move past a certain time in life. The open beak of the gull suggests a "cawing" sound within the image, which is trapped and echoed between the cage of bone. This suggested restriction sound and movement links to the tension of living in an inaccessible environment. The gull is representative of her background living in coastal Scotland, where she adopted the bird as a motif. Campbell lives with chronic physical and mental illnesses, and this work is a manifestation of the challenges faced within these.

Pink and peach crocheted wall hanging with lime green loops suspended from a wooden rod against a plain white wall.

Jodie Whitchurch

An Amalgamation Grows (Sphagnum Body, Moss Knit)

2025

Knitted Tapestry

In a seemingly unending wait for diagnosis, an amalgamation of tissue accumulates. Moss forms, beautifully deferent, verdant, evergreen, lush. Glowing, lining the walls, the tapestry, the terrain: flesh pink, beige, lime-green and olive-green yarn grows from cathartic time-spending process, formulating into moss stitch. Yarn knots and bows, hung from a branch part collected at Tollcross Park, Glasgow. Branch piece has been stripped, cleaned and mineral oiled.

Collage portrait of a girl with a black hood and butterfly on her hair, torn paper textures, and scattered text fragments on tan background

Lauren Evans

Crisis at 8

2026

Mixed media collage, gelli print

The expected perfection of being an 8 year old girl with undiagnosed neurodivergence. The mask slipping a bit, plenty of complex layers to understand before encountering the all-enveloping social pressures of pre-teen and teenage years.

Framed abstract painting on a blue wall, with faded handwritten words about beauty in a sunset and a deep reflective mood.

Maya Beauchamp

Agony

2026

Mixed media and collage on board.

Agony' is part of a series I painted for my honours year at the Edinburgh College of Art, drawing from Jarman's film Sebastiane. In that time I worked toward sparse, dreamy collages with vast lightly coloured voids and floating collaged physical features. Specifically this work draws from Sebastian's martyrdom scene, abstracting the martyr's anguished mouth into an expression of pain without the body. The prose and figure draws from my interest in queer grief, especially how grief and martyrdom become unreliable, fractured and altered by time and memory, especially as much contemporary gay identity pays homage to the dead and damned of yesteryear. The work was a turning point into my current style, marking an interest in small, tragic works inspired by the scale of Christian icons.

Warm-lit portrait of a smiling man with long dark hair and beard, wearing a black shirt against a softly blurred background.

Ross McDiarmid

First Holyroodian

2023/24

Print or recording

The poem based on the epinikion of Pindar – more commonly known as a victory ode. Pindar, and other Ancient Greek writers, wrote these poems for the victors of the Panhellenic games – the primary of which was the Olympian games. This form of occasional poetry doesn’t really have an equivalent in the present. Where modern poetry can tend to linger within an elegiac mode, the epinikion deals in the importance of praise and a future-orientated sense of memory – or fame and renown. It was the power of praise and the future that drew me to Pindar. I’d been looking for ways to address my interest in geology, landscape, evolution, and Deep Time, and the more I read Pindar, the more suitable the epinikion appeared. I was interested in how the form saw the past and lineage as the key features of any victory in the games. Each victory was always connected to the victor’s heritage, either directly through his tribe with some mythical forebear or god, or through the origin myths or mythic cycles associated with the victor’s birthplace. In praising the victors, Pindar draws attention to the past as the necessitating force that defines their victories.

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Flos Collective is a community-led arts organisation championing women, trans and gender-diverse artists in Glasgow and beyond. Through festivals, exhibitions and creative collaborations, we nurture inclusive, grassroots spaces for art and connection. 

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Flos Collective CIC is a registered Community Interest Company (CIC) in Scotland No. SC814062

Based in Glasgow, Scotland

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