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. My philosophical practice is my resistance and seeks to nurture collaborative resilience against discriminatory social practices, looking for collective agency.
Working with science fiction, speculating alternatives, thinking about better futures, my works are unapologetically wonky. Tender, funny, political, soulful, conflicting, sad. I wonder whether new ways of telling and imaging history that encourages participation, can place us in a new relationship with the present, in our story as it unfolds, so that we are better equipped to enter a future of social justice and participatory parity.
Working across disciplines, my practice aims to mix traditional processes and techniques with interactive and broadcast technologies to create immersive storytelling events in the real world and digitally.
+ 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