That is, students who have openly discussed being dyslexic, autistic, ADHD, suffer chronic pain, PTSD, dysgraphic, dyscalculic, Tourette’s and other neurodiversity. My recent visual art class comprised 100% self-reported as neurodiverse. These anecdotal experiences are also being supported by my current doctoral research. Based on these observations, is there a prevalence of neurodivergence in arts courses, and if so, are universities catering enough for diverse learners? This short paper summarises the presentation I gave on this subject at the DDCA Symposium 2024. It poses questions to open discussions with art and design schools in Australia.
Background
Visualising the Invisible: an investigation into dyslexia through the lens of visual art is my practice-based autoethnographic PhD research that asks: is there evidence that supports a correlation between dyslexic attributes and artistic practice? I explore how traits commonly associated with dyslexia, such as big picture thinking, multidimensional thinking, visual-spatial awareness, pattern recognition, and narrative reasoning, manifest in my visual art practice.
There is limited research into the conjecture that neurodiverse individuals, specifically dyslexics, have an aptitude for creative practice. In 1997 Steffert used brain scans to ascertain dyslexia in a group of art students at St Martins College of the Arts, London. She tested 360 of the foundation students and claimed 75% were dyslexic (Steffert, 1997). Wolff and Lundberg’s study of art students at Gutenberg University, Sweden, found 30% of the students had dyslexic traits (Wolff and Lundberg, 2002). Both studies report higher instances of dyslexic art students than the Australian Dyslexia Association statistic of 10% of the population being dyslexic (Australian Dyslexia Association).
Part of my research has stemmed from an anonymous online survey in which artist participants responded to the question of whether they identified as dyslexic (Percy, 2024). Out of the 70 participants, over 56% did not have a formal assessment of dyslexia, though 68% identified as dyslexic, dysgraphic and/or dyscalculic.
Part of my interest is strength-based attributes, and I found that 75% self-reported as being good at problem-solving, 70% had good spatial awareness, 77% could see patterns in seemingly disparate ideas or objects, 76% considered themselves good at critical thinking, and 81% were big picture thinkers. Katherine Hewlett’s dissertation (2018) supports these findings through qualitative and quantitative research, interviews, and exhibitions. She found that 82% of dyslexic artists were lateral thinkers as opposed to 54% of non-dyslexic artists. She also identified several traits she associated with dyslexic artists, such as a tendency to think in “multi-layered and dimensional” ways and thinking that “include(s) visualisation, movement, sound, time and space” (Hewlett, 2018, p269). She coined the term “spark moments” for the method dyslexic artists used to describe their inspiration process (Hewlett, 2018, p 149, 156, 212).
There is no qualitative or quantitative research in Australia into the percentage of neurodiverse students in art schools. Therefore, we do not know whether my observations and initial survey results are reflective of a general trend. At the DDCA Symposium, university deans and directors reported declining student numbers in the creative disciplines. Could a more targeted learning program, which would account for diverse learning needs, address these concerns?
Learning differences
Research suggests that dyslexic and other neurodiverse individuals may have challenges associated with processing speed (Godwin, 2012), working memory (Berg, 2020), and executive functioning (Brosnan et al., 2002). Thus, these students may require clear, explicit instructions, consistency of information delivery, multimodal tasks, various assessments, assistive technology and options for assessment submissions (Yale Center for Dyslexia and Creativity). Providing an accessible, universally designed curriculum will benefit all students regardless of their neurotype (Bringolf, 2017). Understanding the proportion and type of neurodiverse students enrolled in art schools may help retain and maintain student numbers. This information can help leadership and staff design curricula and train staff to support these students.
Lending a technological hand
Technology may also support neurodiverse students. AI can be an equaliser for many struggling students, especially dyslexics, as it can assist with spelling, reading, research and breaking down problems. An example of this process may be summarising papers to ascertain whether the content is relevant to the research or asking AI to find all the papers associated with a topic. For a dyslexic, this will assist with cognitive overload by decreasing the time and energy required to generate and maintain research tasks and skills. As a creative collaborator, AI can spur innovation by rapidly developing video, images, animation and programming through platforms such as MidJourney, Runway, NightCafe, and Sora.
I acknowledge many ethical, environmental and intellectual concerns with creative AI usage and that we are currently unsure of the bounds of the technology we have developed. Despite the broader impact, as artists, and especially as neurodiverse artists, we are on the precipice of creative exploration on a scale we have not seen before.
Dyslexics are noted to be big-picture thinkers, and studies are saying around 40% of entrepreneurs are dyslexic, citing strengths in oral communication skills, vision, problem-solving, people management, intuition, creativity and leadership (Williams, 2023). I speculate that armed with these strengths AI may be able to bridge the literacy gap for dyslexics, and we might even see a spike in dyslexic arts leadership over the next decade. The United Nations has described digital tools as potential ‘great equalizers’ (United Nations UN75). While current systems rely heavily on code and word prompts, which may pose challenges for dyslexics who experience language-based stress, future advancements will change the way these tools are accessed.
Importantly, creating with AI increasingly depends on the ability to visualise concepts. Dyslexics often excel in this area (Cowen, 2014). These strengths could position them uniquely to harness the potential of AI tools in ways that align with their natural abilities, paving the way for more inclusive creative processes. In a world where we are seeing a rise of new job titles such as ‘prompt engineers’, ‘cloud architects’ and ‘AI ethicists’, creatives may be more valued and non-artists may have tools to broaden their creative play. Made by Dyslexia 2024 Intelligence Report 5.0 claims that there is room for dyslexic thinking in the future as “creativity, problem-solving, and communication skills are now the most sought-after characteristics in every job, in every sector, worldwide” (Griggs, 2024). Supporting the rise in these new careers includes utilising tools and technologies to aid and scaffold challenges, ensuring that learning and literacy struggles do not hinder creativity.
In conclusion, by acknowledging the argument that neurodivergence is prevalent in the creative arts, I can see a brave new world if our arts education institutes have the courage and resources to reframe learning – by incorporating universal design principles to support neurodiversity and encourage the use of new technologies ethically and creatively. Sustaining, maintaining, and nourishing creativity starts with supporting our diverse learners and finding ways to strengthen the skills and attributes already present.
Reference List
Berg, M. (2020) Working memory: The engine for learning. Available at: https://dyslexiaida.org/working-memory-the-engine-for-learning/#:~:text=Approximately%2010%25%20of%20us%20have,students%20with%20ADHD%2C%20Inattentive%20Type (Accessed: 30 August 2023).
Bringolf, J. (2015) 7 principles for universal design. Available at: https://universaldesignaustralia.net.au/7-principles-of-universal-design/ (Accessed: 28 December 2024).
Brosnan, M., Demetre, J., Hamill, S., Robson, K., Shepherd, H., & Cody, G. (2002) ‘Executive functioning in adults and children with developmental dyslexia’, Neuropsychologia, 40(12), pp. 2144–2155.
Cowen, C. (2014) Dyslexia and visuospatial processing strengths: New research sheds light. Available at: https://dyslexiaida.org/dyslexia-and-visuospatial-processing/ (Accessed: 31 December 2024).
Australian Dyslexia Association (2024) Dyslexia in Australia. Available at: https://dyslexiaassociation.org.au/dyslexia-in-australia/ (Accessed: 28 December 2024).
Griggs, K. (2024) Made by Dyslexia: Intelligence Report 5.0. Available at: https://www.madebydyslexia.org/MBD-Intelligence-5.0-Report.pdf (Accessed: 6 November 2024).
Hewlett, K. (2018) Social-cultural investigation of visual dyslexic cognition, pp. 149, 156, 212.
Hewlett, K. (2018) Social-cultural investigation of visual dyslexic cognition, p. 269.
Griggs, K. (2024) Made by Dyslexia: Intelligence Report 5.0. Available at: https://www.madebydyslexia.org/MBD-Intelligence-5.0-Report.pdf (Accessed: 6 November 2024).
Orr, J. (2024) DDCA Symposium. Presentation.
Percy, K. (2024) Visualising the invisible: An initial investigation of dyslexia and visual art. Poster presented at the British Dyslexia Association Conference. Available at: https://www.kimpercy.com/conference.
Skills for Study (2023) Specific learning difficulties (SpLDs). University of Reading. Available at: https://libguides.reading.ac.uk/c.php?g=521446&p=4807255 (Accessed: [insert date]).
Steffert, B. (2009) Visual spatial ability and dyslexia: A research project. United Kingdom: Central St Martins College of Art & Design.
United Nations (2024) The impact of technologies. Available at: https://www.un.org/en/un75/impact-digital-technologies (Accessed: 31 December 2024).
Yale Center for Dyslexia and Creativity (2024) Tips for students. Available at: https://dyslexia.yale.edu/resources/dyslexic-kids-adults/tips-from-students/ (Accessed: 2 January 2024).
Williams, K. (2023) The link between dyslexia and entrepreneurial success. Dyslexia UK. Available at: https://www.dyslexiauk.co.uk/the-link-between-dyslexia-and-entrepreneurial-success/ (Accessed: 31 December 2024).
Wissell, S. et al. (2022) ‘Leading diverse workforces: Perspectives from managers and employers about dyslexic employees in Australian workplaces’, International Journal of Environmental Research and Public Health.
Wolff, U. and Lundberg, I. (2002) ‘The prevalence of dyslexia among art students’, Neuropsychologia, p. 41. Available at: https://www.researchgate.net/publication/11380532_The_Prevalence_of_Dyslexia_Among_Art_Students.
Kim Percy is a PhD candidate at Federation University. She is an experienced art and design lecturer with over 30 years in professional practice. Specialising in visual art, photography, digital media, communication design, and professional art practice, she has taught at Federation University and RMIT. Her research explores the intersection of dyslexia and creativity, informing her current practice-based PhD. As a practicing artist, her work addresses social and environmental issues through exhibitions, installations, and public art. A passionate educator and mentor, she is committed to fostering creative practice in emerging artists and designers.
Main image: Kim Percy, Sometimes, Insurmountable Diptych