Statement
Despite our knowledge of neurodivergence being relatively novel, recurring patterns of low self-esteem and feelings of inferiority among neurodivergent individuals have already begun to permeate online communities and psychological literature. Many describe the challenge of navigating daily life as though they lack a metaphorical manual. Unlike neurotypical individuals, for whom socioemotional behaviours may feel instinctive, neurodivergent individuals often report altering their behaviour to conform to neurotypical norms (Kritika et al., 2025)[i] - a socially-adaptive mechanism known as “masking”. When reports of neurodivergent individuals feeling ‘different’ to others are considered alongside research indicating masking as detrimental to one’s mental health (Evans et al., 2023)[ii], the way neurodivergent individuals come to view themselves as inferior, defective, or broken becomes clear.
Drawn to the concept of a ‘manual for life’, I created “How to Be Normal (Neurotypical)”, an A3 screen print featuring the phrase “HOW TO BE NORMAL NEUROTYPICAL A STEP-BY-STEP GUIDE” wrapped around a drill in bold, black lettering. Stylistically, this piece draws from the text-based practices of Barbara Kruger and the Guerrilla Girls. In works such as “The Advantages of Being a Woman Artist (1988)”[iii], the Guerrilla Girls use bold, capitalised lettering and irony to facilitate and sustain viewer engagement while addressing sensitive social issues. Kruger uses a limited colour palette of red, white, and black text as a tool for visual confrontation, highlighting the effect of language in forming social constructs such as identity[iv]. By crossing out the word “NORMAL,” I attempt to challenge the synonymisation of neurotypicality with normality - an association deeply ingrained into society, and perpetuated by deficit-based clinical language. The drill not only references instruction manuals, but also symbolises how neurotypical standards are “drilled into” neurodivergent individuals through societal expectations. The satirical tone of this piece draws from the YouTube-based social commentaries of Jayson Musson, in which he adopts the persona “Hennessy Youngman” to critique contemporary art and expose the elitism of white, male-dominated institutions through satire and pop-culture references[v]. Similarly, I position my work as a political critique of psychology, particularly institutions that continue to operate through a medicalised model of disability – one which frames conditions such as Autism as problems which need to be ‘fixed’ (Olkin, 2022)[vi].
In an effort to transform the metaphorical phenomena of a manual for life into something tangible, I looked at using furniture to represent this neurodivergent experience. I started out by disassembling a wooden chair and laying its components out onto the floor - taking note of how each part fit together, and in which order. This process unintentionally resulted in “BUILD IT”, an installation consisting of chair pieces, screws, and a row of white paper squares stencilled with the words “BUILD IT”. The phrase functions both as an instruction and an invitation to viewers encountering the work. “How to Build a Chair” extends this idea by reusing the chair components while removing the stencilled text. Beside the furniture pieces sits a sealed, transparent acrylic box containing tools and a handmade instruction manual. While the task of building a chair initially appears straightforward, the box being sealed voids the functionality of the tools. Conceptually, the chair symbolises neurotypical behaviour, while the tools represent the masking strategies used by neurodivergent individuals to appear socially functional. In order to build the chair, (perform social, emotional, and cognitive behaviours in ways perceived as neurotypical), individuals must open, and use the tools (strategies) within the box successfully – something which requires the exertion of physical and mental energy. The transparent material of the box was essential to the work’s meaning. Neurodivergent conditions are considered “invisible” disabilities as they are not physically apparent. Consequently, neurodivergent individuals are frequently invalidated, with their struggles dismissed as personality quirks or behavioural failings rather than being recognised as manifestations of their disability. By making the tools visible but inaccessible to the viewer, I attempt to communicate the hidden effort involved in everyday functioning. As although the strategies for masking (tools) are visible, they are not effortlessly accessible to neurodivergent individuals, whether that be through an individual’s lack of knowledge on how to mask, or insufficient energy levels to mask successfully.
Inspired by Fluxus and Happenings[vii], “How to Build a Chair” associates itself with performance-under-instruction, albeit viewer performance within my piece remains futile. Through the inaccessible tools and unfinished act of construction, my work aims to highlight the barriers neurodivergent individuals face every day as a result of their conditions as well as the invisible labour of masking. As a whole, my work attempts to serve as a vector for visual confrontation, in which viewers’ assumptions surrounding functionality, normality, and disability are challenged.
References:
[i] Kritika Kritika, Williams, R. M., & Ringland, K. E. (2025). “Ultimately, it’s a matter of safety, and resisting ostracization”: Understanding Neurodivergent Masking with Online Communities. 1–14. https://doi.org/10.1145/3706598.3714094
[ii] Evans, J. A., Krumrei-Mancuso, E. J., & Rouse, S. V. (2023). What You Are Hiding Could Be Hurting You: Autistic Masking in Relation to Mental Health, Interpersonal Trauma, Authenticity, and Self-Esteem. Autism in Adulthood, 6(2). https://doi.org/10.1089/aut.2022.0115
[iii] Tate. (1988). “The Advantages Of Being A Woman Artist”, Guerrilla Girls, 1988. Tate. https://www.tate.org.uk/art/artworks/guerrilla-girls-the-advantages-of-being-a-woman-artist-p78796
[iv] Tate. (2012). Barbara Kruger Born 1945 | Tate. Tate. https://www.tate.org.uk/art/artists/barbara-kruger-1443
[v] MCA - Jayson Musson (American, b. 1977) ART THOUGHTZ, 2010–12 YouTube videos Durations variable Courtesy of Salon 94, New York | Museum of Contemporary Art Chicago. (2018). Mcachicago.org. https://mcachicago.org/publications/websites/i-was-raised-on-the-internet/artworks/jayson-musson-art-thoughtz-2010-12
[vi] Olkin, R. (2022). Conceptualizing disability: Three Models of Disability. American Psychological Association. https://www.apa.org/ed/precollege/psychology-teacher-network/introductory-psychology/disability-models
[vii] Kirstie Beaven. n.d. “Performance Art: The Happening – Essay.” Tate. https://www.tate.org.uk/art/art-terms/h/happening/happening
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