Dyspraxia is not a trivial or merely incidental condition; it is a fundamental part of an identity and a driving force behind an artistic research and practice. Diagnosed while living and studying in the United Kingdom, this recognition was a turning point the academic and professional journey. During the MA in Sculpture at the Royal College of Art (2014), a substantial support from Student Finance England (SFE) through the Disabled Students’ Allowance (DSA) was essential, providing the technical and human assistance required to organize files, ideas and write the MA dissertation.
Far from being a silent limitation, dyspraxia shapes the way the artist engages with matter, space, and language. This unique cognitive processing is directly reflected in projects such as the “Living Archive – Epistolary with the Machine“, which is a field of friction and matter in constant transformation. The instability inherent in the organization of thought becomes a conceptual tool, where the search for order is translated into dialogues with technology and artificial intelligence.
The act of collecting facts, found objects, and charcoal tracings and mix of substances as oil and acrylics, water, dew and many colored matters is an exercise in continuous re-arrangement. Dyspraxia, therefore, manifests in “sensitive geometry”: an investigation into how form travels through space/time and how the “artistic act” serves as an instrument to shed new light on situations and memories that the mind organizes in unconventional ways.
Harald A. Wiltsche » IAI TV
Dispraxia, Arquitetura do Pensamento
Dispraxia não é uma condição trivial ou meramente incidental; é parte fundamental da identidade e uma força motriz por trás da pesquisa e prática artística. Diagnosticada enquanto vivia e estudava no Reino Unido, esse reconhecimento representou um ponto de virada em sua trajetória acadêmica e profissional. Durante o mestrado em Escultura no Royal College of Art (2014), o apoio substancial do Student Finance England (SFE), por meio do Disabled Students’ Allowance (DSA), foi essencial, fornecendo a assistência técnica e humana necessária para organizar arquivos, ideias e escrever a dissertação de mestrado.
Longe de ser uma limitação silenciosa, a dispraxia molda a maneira como o artista interage com a matéria, o espaço e a linguagem. Esse processamento cognitivo singular se reflete diretamente em projetos como o “Arquivo Vivo ~ Epistolário com a Máquina“, um campo de fricção e matéria em constante transformação. A instabilidade inerente à organização do pensamento torna-se uma ferramenta conceitual, onde a busca pela ordem se traduz em diálogos com a tecnologia e a inteligência artificial.
O ato de coletar fatos, objetos encontrados, traçados a carvão e misturas de substâncias como óleo e acrílico, água, orvalho e diversas matérias coloridas é um exercício de rearranjo contínuo. Dispraxia, portanto, se manifesta na “geometria sensível”: uma investigação sobre como a forma viaja pelo espaço/tempo e como o “ato artístico” serve como instrumento para lançar nova luz sobre situações e memórias que a mente organiza de maneiras não convencionais.
Looking back, I realize that my journey was profoundly shaped by a neurodivergence: Dyspraxia. During my MA, I was supported by the British government’s Disabled Students’ Allowances (DSA), an essential framework for students with conditions such as Dyslexia and Dyspraxia.
Dyspraxia (from the Greek dys, difficulty, and praxia, to act) is a developmental coordination disorder that affects motor skills, balance, and spatial perception. Often labeled as “clumsy child syndrome,” it explains why, during my childhood in Rio de Janeiro, I was always the substitute in football or the surfer who couldn’t stand on the board—experiences that impacted my self-esteem until the diagnosis turned this “flaw” into a key for understanding.
An assessor at the RCA once gave me valuable advice: “Do not build the house of Dyspraxia to live inside it.” Like the table tennis champion who overcame limitations through adaptive effort, I learned that the advantage of being neurodivergent is complex, non-hierarchical thinking.
My artistic practice is, in essence, the construction of bridges between multidimensional thought and material form. Supported by specialized tutoring at the time, I learned to organize my reasoning line by line, transforming chaos into structure.
Olhando para trás, percebo que minha trajetória foi profundamente moldada por uma neurodivergência: a Dispraxia. Durante o mestrado, fui bolsista do governo britânico através do Disabled Students’ Allowances (DSA), um suporte fundamental para estudantes com condições como Dislexia e Dispraxia.
A Dispraxia (do grego dys, dificuldade, e praxia, agir) é um transtorno do desenvolvimento motor que afeta a coordenação, o equilíbrio e a percepção espacial. Popularmente chamada de “síndrome do desastrado”, ela explica por que, na minha infância no Rio de Janeiro, eu era o reserva no futebol ou o surfista que não conseguia ficar em pé na prancha — experiências que afetaram minha autoestima até que o diagnóstico transformasse essa “falha” em uma chave de compreensão.
Uma avaliadora no RCA me deu um conselho valioso: “Não construa a casa da Dispraxia para morar dentro”. Como o campeão de pingue-pongue que superou suas limitações através do esforço adaptativo, aprendi que a vantagem do neurodivergente é o pensamento complexo e não-hierarquizado.
Minha prática artística é, em essência, a construção de pontes entre o pensamento multidimensional e a forma material. Com o apoio de tutorias especializadas na época, aprendi a organizar meu raciocínio linha por linha, transformando o caos em estrutura.
Looking back, I realize that my journey was profoundly shaped by a neurodivergence: Dyspraxia. During my MA, I was supported by the British government’s Disabled Students’ Allowances (DSA), an essential framework for students with conditions such as Dyslexia and Dyspraxia.
Dyspraxia (from the Greek dys, difficulty, and praxia, to act) is a developmental coordination disorder that affects motor skills, balance, and spatial perception. Often labeled as “clumsy child syndrome,” it explains why, during my childhood in Rio de Janeiro, I was always the substitute in football or the surfer who couldn’t stand on the board—experiences that impacted my self-esteem until the diagnosis turned this “flaw” into a key for understanding.
An assessor at the RCA once gave me valuable advice: “Do not build the house of Dyspraxia to live inside it.” Like the table tennis champion who overcame limitations through adaptive effort, I learned that the advantage of being neurodivergent is complex, non-hierarchical thinking.
My artistic practice is, in essence, the construction of bridges between multidimensional thought and material form. Supported by specialized tutoring at the time, I learned to organize my reasoning line by line, transforming chaos into structure.
Lost in Thought | Steven Pinker, Hilary Lawson, Barbara Tversky, Sophie Scott-Brown
Unravelling the ties between thought and language
26th March 2026
We see language as the primary means we have to convey our ideas. And hugely powerful it is. Often cited as the central reason humans became the most dominant species on earth. But the relationship of language to thought is contentious and unknown. Once seen as a transparent medium for ideas, in the 20th century philosophers from Russell and Wittgenstein, to Heidegger and Derrida, overturned this everyday assumption arguing either that language was woven into the way that we think or more strongly that language was the structure of thought. But this view has been challenged by linguists and evolutionary biologists who maintain that thought is not the same as language and that we, and other living beings, have other forms of communication.
Should we see language as independent of thought and if so what does thought consist of? Or does language make thoughts possible and provide the framework through which we see the world? Or is the opposition of thought and language itself a mistake?
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