TIRED OF WAITING
AN EXHIBITION OF ARTWORK BY NEURODIVERGENT AND DISABLED ARTISTS.
A NOTE FROM THE COLLECTIVE
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

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.

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

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.


