My belief is that in most cases the Autism brain knows what it likes, knows what it wants and will focus to that end.  Our honesty is often seen as brutal, but I find it more confusing that anyone would lie – especially to themselves.

When I was younger, art was all I wanted to do.  Both of my older brothers were A* maths students so I naturally compared myself and was always disappointed.  I did well in my GCSE and decided to take A Level maths as this would surely please my parents and gain far more respect as ‘that girl who draws horses all the time’! However, I reached the end of term 1 and realised I just couldn’t deny the strain of having to sit and do something that didn’t involve colour or observation or personal reflection.  I dropped out and instead opted for Art, Photography and Media Studies.  I learned a lesson and never turned my back on art again.

It is true (in my case anyway) that I struggle with abstraction, surrealism and some forms of impressionism. I cannot paint something and then try to convince others that there is meaning or emotion behind it. But my own artwork is definitely not the photorealism that many people associate with Autism.  I cannot draw a London skyline from memory so please don’t ask!

My strength comes from hyper-focus.

[ I don’t like the term ‘hyper-fixation’ as this conjures images of a dog playing fetch with a tennis ball all day.]

I knew that my future would be creative so I focussed on it entirely.  I read, I visit galleries and pop up exhibitions, I speak with fellow artists and I am constantly learning and evolving.  I adore the links between art, science and psychology as these 3 subjects are what separate us as a species from the others on this planet.

When I paint, I do it 80% from memory & imagination and the other 20% from reference.  I combine elements that I am familiar with and do my best to sit comfortably within ‘contemporary expressionism’ for this very reason.   I do not want photorealism because it simply doesn’t appeal to me. I want to grab the image in my head and project it for everyone to see!  And no, I’m not gifted.  I have spent many, many years evolving and refining my work until now I can make it match that image in my head.  A stubbornness and refusal to fail have driven me forward.  Like Einstein said, he wasn’t clever but simply had an enquiring mind and refused to stop asking questions.

I constantly get refused from high-street galleries because my work doesn’t have the aesthetic they’re looking for.  I do wonder if they would sell my work if I bought a 1m2 canvass and randomly threw some paint & gold leaf at it, or painted David Beckham like a Warhol.  But I cannot and WILL NOT follow the money or the crowd.  I am authentically me.  And I believe this is the gift that us Autistics have which sets us apart. We don’t want to compromise who we are to please others.  Not selfish, just pursuing our own narrative.  Read any of Temple Grandin’s books and you’ll see that is a truth which is something all of us should be embracing.

So yes, many Autistic people can be creative, but we cannot be anything other than authentic.

Unfortunately, we lose this skill as we get older. I don’t know why, but in our society we put far more value in to study, reading, lectures, webinars etc than we do in actually just doing something. Why is that?

I keep reading that the adults who make it in the creative industries are the ones who remember how to explore and experiment. I suppose there has to be truth in that… you can’t have a truly original idea if you’re constantly feeding off other sources.

Equally, there is huge value in making mistakes. Failure is a separate thing. In my eyes, you only fail when you give up. Every mistake is a learning curve. Sometimes something incredible happens that you hadn’t predicted and you realise you have discovered something new! Sometimes you simply learn how NOT to do something. Both have enormous value.

Having my children off school has been a wonderful reminder to me of the value of playing. As adults, we need to spend more time doing this ourselves and not being afraid.

Watching my children dying fabric, spraying it with bleach, stitching in to it and making something they’re proud of, has been a wonderful experience. I love that they have very few boundaries and even those are governed largely by safety and access to resources. Why not try applying bleach with a fork? Why not hang the fabric so everything makes a drip pattern? Why not hang it to dry on the climbing frame so that the ink pools and makes a pattern? Did I think of any of these things…? Nope. They did.

The mind of a child is much less afraid of something being ‘wrong’. It’s true as I see it all the time. The education system trains us to get that green tick next to our work, and even in art lessons that means working to a list of success criteria. If any student tries to deviate, it’s hard to judge and mark the criteria you have set. But it’s that child that goes on their own path that should actually be celebrated. Because… well, who gets anywhere in life by being like everyone else?

I created these two little prints by playing about with media and resources. They’re simple but I adore them. And I completely enjoyed the process because I had no idea what the end product would be. Kinda like going for a walk and happening across a nice pub!

In short, we need to make more risks. Be more free in our thinking and be more childlike in our curiosity.

In fact, if I take a look back over all my recent artworks they are all reflective of resilience. And I think that’s why I adore house plants so much. As they are alive but not sentient, they rely on us to care for them. But even through that, they have a life of their own; they grow, they flower, they thrive and yes – sometimes they struggle and they need more or less and sometimes they just give up and wither away.

This vulnerability speaks to me as a person who has had the same struggles in life. I hate relying on other people but we HAVE to. From health care, to our utilities, we need other people to keep us healthy and keep us moving.

My plants are a reminder of the inner strength that we all have. And my prints are my inner sanctum coming out in a colourful display of defiance against anything which tries to defeat me.

These 3 mini prints make an ideal addition to my series. 3 air plants, the strength they require to survive is incredible, and yet they are actually extremely fragile. They’re each pictured inside a hanging glass globe, with a small aperture to the front. A suit of armour maybe, with the ability to allow love and light in.

These are my 3 children.

So you want a printmaking studio, but don’t have the £thousands it will cost to set up? Please don’t worry, it doesn’t have to be expensive! My studio has taken a couple of years to get to where it is now, but I have some super useful tips that may help you!

When I first started printmaking, I used the kitchen table. This is absolutely fine if you’re happy to do LOTS of cleaning and sanitising. All you will need is your tools (see previous Blog Post on Learning to Linocut) and paper. The bugbear with this one is where to put your prints to dry – but I have an answer!

Grab yourself a clothes airer and some pegs! You can fold it up when it’s not in use and it’s super easy to store. Just be careful to ensure your pegs don’t damage your paper.

If you have the space for a studio, where do you start with furnishing it on a budget?

The most important purchase you’ll make is your work surface. Without it, you have no way of creating. You need a surface that you can easily wipe clean – something wooden with crevices is no good as ink will sit in them and then bite you when you least expect it. I bought 2 trestle stands from IKEA and a cheap, white table top to put my press on.

Search marketplace on Facebook too as you’ll see loads of desks etc for sale. Don’t buy new if you don’t have to. There’s no point, even if you can afford it. I only bought one as there was nothing available after weeks of searching – just my luck!

I also made a clean desk by buying a tabletop from the discount area of IKEA and placing it on two cube units which we already had. These then double up as storage. Again these are available from loads of shops and you can find them readily on Marketplace or eBay.

It’s important to have 2 desks if you can – a messy one and a clean one, otherwise you’ll find yourself cleaning constantly. Which is distracting.

So what’s next? A seat. I’ll be honest, I don’t spend an awful lot of time sitting down. But it’s important for when you’re drawing, researching or having a cup of tea! A stool always seems like a good idea, but I’d suggest one that adjusts in height so you avoid hunching over. I got a great little one from Marketplace for a few £ and local collection.

As you’ve probably read, I don’t have a full sized press as I couldn’t afford one. For a studio on a budget, try a Cold Press Laminator! You can get them in a range of sizes to suit your space, but at £100 for a huge 750mm unity you really can’t argue.

Let me make this clear: YOU DON’T NEED A SINK. This is one of the things that puts people off having a home studio. Please don’t panic about getting a plumber in yet. If you’re using oil based inks, use a spray bottle of vegetable oil, some paper towels and an old bath towel. If you’re using water based inks, the same applies but use a spray bottle of water.

Tool storage? Why pay out for a purpose made block when you can find a child’s toy on marketplace and use that instead!

I use plant pots from charity shops to store my pens and pencils and I have my paper in an old chest of drawers!

There really is no reason to spend a fortune. That way you have more money for ink, paper and linoleum!

So please don’t be scared of making yourself a dedicated space. It gives you so much reward.

I spent years hand pressing with a spoon. There is huge satisfaction to be had by the beauty of putting all the pressure through your body, exhausting yourself physically and building the anticipation of the reveal. Because anyone who hand prints will know that every single outcome is different. When you lift a corner of the paper and get that first glimpse, you can drop and continue for a refined finish, or continue to peel if you’re happy.

It’s a game of roulette as the pressure will never, ever be consistent. But that’s all part of the fun right? Until you’re doing A3 or larger print runs. Then the novelty becomes laborious.

Unfortunately I am unable to justify the £3k price tag on a dedicated printing press. Don’t misunderstand me – they’re absolutely worth their money, but with a home and 3 children, I always see other areas where that money could be better spent.

So, one day I was trawling through one of my social media groups for Linocut printmakers. It was mentioned that it’s possible to print on craft presses (such as the Big Shot) which were primarily for die cutting. But these are small so not what I needed. When I looked further in to this I found that a small number were using what was called a Cold Press Laminator. A very simple device with 2 rollers and a short bed either side.

At the time, these were extremely cheap for what they were. As I had been looking at £3k presses, £80 for a 75mm Cold Press Laminator was a steal! I bought mine from Sinzworld (https://signzworld.co.uk/), but I believe that since word has got out about this new use for their product, the price has gone up. It’s still incredibly affordable though.

I would advise you to buy the largest size you can possibly fit in to your working area. The two short beds either side fold up, meaning it’s just the width that you have to contend with when storing. I’m fortunate to have a dedicated studio so mine sits out on the desk permanently.

I always get questioned on the clearance between the rollers, as it’s obviously not as flexible as a dedicated press. I have found it to be considerable enough that I can fit through all the components needed for a linoleum sandwich and have wriggle room. I personally use either:

3mm mdf / linoleum / paper / ikea blanket

Or:

Cutting mat / linoleum / paper / silicone baking mat

I switch between these depending on the size of print, the type of print and the texture of the surface. The best thing I could advise for you is to play about.

Another question I am often asked, is why people’s prints slip and smudge. There is a very simple answer to this – you are using too much pressure. I cannot impress upon you enough, that the key to a successful print on a cold press laminator is getting the sandwich right and then using the smallest amount of pressure possible to render your image. When you use too much, it will slip. If you are finding that your image is patchy (like in the image above) troubleshoot your ink and sandwich first. Are you working your ink enough prior to application? Are you adding thin layers to your linoleum and building it up? What is the texture of your paper? Usually the answer is far more simple than adjusting the pressure.

The final question I am asked A LOT is if you can use a CPL as an etching press. Due to the amount of pressure required, my gut instinct would advise against it. A cold press laminator isn’t designed for high pressure and you risk damaging the thread. I have never tried it myself and probably won’t.

Before you buy, do your research.

There is a company out there which is buying cold press laminators, changing the wheel and selling them as printing presses with a huge price tag. You really don’t need to pay this amount or be swayed by the wording. You’re getting the same product.

I am a huge champion of the Cold Press Laminator as an affordable printmaking press. The results are consistent and if you take care of it, you’ll have a professional standard tool for many, many years.

If you have a question that I haven’t answered here, please pop me a message and I’ll endeavour to answer!

OR… is it that everyone struggles, but artists have a creative outlet for their depression, which is what makes it more visible to others?

If it’s the latter, does the creativity assist with demolishing low moods, or does it encourage it? Because let’s be honest, most of the best love songs, paintings, photographs, stories etc were born from severe anguish. Oooh it’s an interesting one to pick apart, that’s for sure.

I don’t have the time or the resources to gather research of my own, but there is enough evidence already out there to support a theory that neurodiversity, depression and creativity are knitted together. That doesn’t mean that all Autistic people can paint. Or that all BiPolar people can write a love song. But it means that their unique perspective on the world can inspire something amazing. We then have to figure out how to translate that in to a narrative that’s tangible for others. Some have the environmental factors to enable this and some don’t.

I think you could also throw in to the mix, that a neurodivergent mind will process the world differently, and this in itself can produce artwork which is unique and of enormous value. This is where my curiosity really kicks in.

Art has been used for many years, as a form of therapy for anyone who is struggling with anger, anxiety or general mental health. There are many reasons why this is successful.

Firstly, indulging a person’s basic senses can give a positive focus and help to settle your brain chemistry. Whether it’s working with the tactile qualities of clay, examining a subject with your eyes or just adding colour to a page, it takes a gentle thought process with sensory rewards.

Secondly, once you are calm, it’s possible to communicate your feelings through your chosen medium. Sometimes, especially with Autism, there can be gaps in one’s ability to communicate verbally – particularly when your fight or flight mode is activated. But when presented with something abstract, such as colour, line and shape, it is possible to get those emotions out.

Oddly, if you ask someone to ‘draw how they feel’ they probably won’t be able to. Trying to put your own emotions in to a visual representation is near impossible. However, if you merely set out to create something, most of us will automatically pour our emotion in to it anyway… food for thought. Have you ever looked back on something and realised it was skewed by your mindset at the time? Well there you go.

I’m setting out to produce a body of work which allows my current mindset to access the freedom of my creativity. I have no idea where to start or where it will take me, but that’s the whole point isn’t it?! The journey rather than the destination.

I applied to attend the filming as a Wildcard entry in Whitstable, following in the footsteps of my Mum who was a Wildcard at Chartwell in 2020.

The wildcards were positioned in socially distanced lines along the pontoon, looking out across the coast to the West towards Seasalter. It was difficult for me at first, because I am a graphic designer by trade and I like to compartmentalise with lines and block colours. So, after sitting, staring around me for about twenty minutes, I turned myself sideways and decided to focus my attention on the Lifeguard Station. After all, to me this is one of the key elements that makes Whitstable what it is. A family friendly beach town. In fact, during the day the lifeguards were called out 4 times! It was an extremely busy day, the hottest of the year so far and the coastline was covered in people trying to enjoy the sun together.

I’ll be honest – I was a bit too enthusiastic to begin with and realised after half an hour that drawing straight on to my linoleum would have been fine, if I had remembered to draw my landscape reflected! With the fact that I had already wasted an hour of my 4 hour time allowance, I started again. Amusingly, Kathleen Soriano caught me starting my second and we shared a giggle at my expense.

The rest of the day went well. I decided to create a jigsaw block – cutting my Lino in to 3 slices so that I could ink them in separate colours and pop them back in to my jig reassembled. This yielded a clean and vibrant print, which was honest & unquestionably mine. I am glad I made a jig and used my Turnes Burton Pins as this made the process a lot quicker and easier.

Colour choice was easy. It was the hottest day of the year and everyone was uncomfortable, so the combination reflected that. The heat made the ink run away, but I was glad I chose oils as the quick drying of water based inks would have been potentially awful.

Pack down was interesting, as I had so much to clean up. However, using vegetable oil and paper towels meant that I didn’t need access to water, so I just wiped everything clean and popped it in a bin bag to take home and recycle. I collected my Lino shavings in a pot and put everything back in my box.

Linocut outside is definitely hard work. Keeping out of the sun as it changed position was a challenge, but I’m glad I chose to sit on the floor – it was preferable to being hunched over my lap for 4 hours. The crew seemed amused by my little floor area but Kate was happy to sit down with me for two progress interviews.

At the end, the director explained that one Wildcard would be chosen from the 50 artists as the Wildcard winner and that Kate Bryan would reveal who that was. I stood and had a giggle with Dame Joan Bakewell, though I will admit that at the time, I had no idea who she was! It’s fortunate that I was on my best behaviour.

When Kate stopped to speak to me I was completely unprepared and shocked. Having spent the day surrounded by so many capable artists, it seemed surreal to be the chosen one. Watching it back, my face says it all!

7 months later, I am still utterly riding the wave of this experience.

Linocut is a very misunderstood art form and isn’t represented enough. To create a print in just 4 hours is a huge challenge and as the image only arrives at the end of the process, it’s difficult to visualise – especially for those who are new to the concept. It’s not as instant as a painting.

My work has often invited criticism and I definitely felt out of place amongst the oils and watercolours. But I am proud that I was true to myself, I created a print that is honest and having watched the programme back now, I believe that I won simply because I was different. And ultimately, that’s what all of us artists are trying to achieve isn’t it… ?

We have so much information available to us about the changes to our environments, ecosystems and biodiversity, but art is also a window to tell us more about it. Curious? Then read on…

Art itself has evolved over the history of human existence and can tells us everything we need to know – if we look closely enough. Diane Burko made a name for herself in the art world, by exploring her love of landscapes and the world around her. As an activist, she saw a way to communicate with the world about the devastating affects of climate change, through her work. Changing landscapes were enough to draw attention to the planet’s struggles against human impact.

In fact, if you take a look back through historical landscapes from across the globe, you can see differences in the climate.

It has been suggested that even Turner has given an insight of the air quality back in the 19th century. In this painting (Keelman Heaving In Coals By Night) you can see the river Tyne and the ships that transported the coal from the Newcastle mines to various locations around the country. We all know the damaging affects that coal fires had on our atmosphere and can see the ships and the smog captured beautifully.

This painting by Edwin Church was created in 1861. It captures the Iceburgs in the Arctic, with a message of how powerful they are against man’s best efforts. The broken mast in the foreground is a hint to the demise of a ship, a then formidable man made structure. We are now far more aware of the fragility of these landscapes, with modern imagery now depicting the melting icecaps, receding habitats and rising waters due to temperatures climbing.

Photography has also been another window to the past, quietly recording the catastrophic changes that we hadn’t even noticed at the time they were captured. This is a classic example: the vintage adverts that we now love and hold in high artistic esteem are now a terrifying reminder of another way it all went very wrong. I am a child of the 80s. We were told that cutting down trees was wrong and plastic was the way forward! It took 30 years for us to realise the reality of single use plastics and understand that cutting down trees is actually okay – if its controlled, woodland is replenished, products are recycled & biodegradable and none of this destroying habitats (especially those of animals whose numbers are already under threat).

And that brings me nicely on the use of resources. Art itself has evolved, in an attempt to eliminate use of harsh chemicals, single use packaging and contribution to landfill. The use of natural pigments and preservatives have taken over. Digital photography means no more printing rolls and rolls of film from single use casing. Paints are offered in recyclable metal tubes and tubs. My personal bugbear is the use of synthetic resins, as they’re made from fossil sources and there is no way this will ever break down. Unfortunately, selling sites are filled with cheap resin products right now and the trend for home crafting isn’t slowing despite platforms like TikTok taking a stand against it.

They’re not the only media source which is using visuals in a more responsible way…

The Guardian has chosen to use re-educate the way photographers record the impact of our current situation. We are used to seeing photos of polar bears and orangutans being used alongside media reports on climate change. Humans are visual creatures and most of us need to establish credible links between our own lives and what we are looking at in order to find empathy. The Guardian is working to ensure pictures of real people being affected by real issues are providing artwork to their words, rather than animals and landscapes. This is something that is spilling out in other art forms, with a sudden urgency to become accountable. Putting a face to climate change makes it personal.

This huge mural of David Attenborough was painted on the side of a building in Essex by Scott Irving, as part of a display called ‘Making Waves’. Attenborough’s instantly recognisable face and public image is irrevocably linked with saving the planet and the natural world, so it’s application in any form will immediately draw related meaning.

I realise that this post merely touches the tip of the iceberg (pun not intended) with art and climate change, but there are so many articles and papers out there which can provide you with further information. It’s an extremely powerful discussion as we are living this NOW, it is happening NOW. The artwork being created today will be the historical footprints of tomorrow.

Profound eh?