From a young age, I have had a strong sense that things aren’t right. That there is a structure in place that privileges the few over the many. I now know that the structure is built and maintained by the stories we are told, through time and generations, orally, in written words and the images of our cultures. The stories train us to think that the imbalance, injustice, and ultimately the anthropocide of capitalism is the natural product of our societies. The training is a slow accretion of tradition and ideologies, and in the entanglement, we cannot help but be complicit. My philosophical practice is my opposition and resistance.
My works are unapologetically wonky. Tender, funny, political, soulful, conflicting, sad. They are my attempt to draw out the predominating structure, reconfiguring ideas and images from our histories and cultures. Seeking something different, something new, I work with the outmoded genre of history painting and the accessible and iconoclastic graphic novel, to create speculative histories, past, present and future. If different stories are told, will the structure be different? If we are better represented in the structure, will we have agency in our collective lives?
Working across disciplines, I mix traditional processes and techniques with interactive technologies. Since 2016, I have been developing immersive storytelling that people can experience in the real world, digitally and virtually.
+ Like the myth of Pandora, Laura Moreton-Griffiths’ work might be seen as a kind of theodicy, addressing the question of why there is evil in the world.
Essay by Anna McNay. Art writer and Assistant Editor, Art Quarterly