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 resistance and seeks to nurture collaborative resilience against discriminatory social practices, looking for collective agency. I work with science fiction, speculating alternatives, thinking about better futures.
My works are unapologetically wonky. Tender, funny, political, soulful, conflicting, sad. They are my attempt to figure the 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. 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, I mix traditional processes and techniques with interactive technologies to create immersive storytelling events 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