contact: laura.a.hindmarsh[at]gmail[dot]com
https://vimeo.com/lahindmarsh
@lahindmarsh
CV available here
https://vimeo.com/lahindmarsh
@lahindmarsh
CV available here
Born (1987) Living and working between Australia and East Sussex.
Laura Hindmarsh’s practice is loosely focused on the moving image but using interdisciplinary approaches from analogue film to performance, drawing and writing. With a specific interest in cinema and storytelling, Hindmarsh’s work unpacks conventions of representation as a way of negotiating influence and the construction of identity. Using the presence of the body and the voice – mediated by recording and playback technology – Hindmarsh explores subjectivity through remoteness, proximity and temporal dislocation. It is a way to question, understand and embody an experience- staying with the uncomfortable, trying to figure it out whilst paying attention to the conditions under which she lives and works, as an artist and otherwise.
Alongside an interest in using the subjective to address and challenge grand narratives her approach remains somewhat structural using doubling, mirroring, reflecting and exposing as a form of critique. This ‘undermining’ of representation in its mediation, influence and fixity is a strategy to keep the work mutable and within a process of transformation. Keeping things shuffling. Moving and being moved.
Laura Hindmarsh’s practice is loosely focused on the moving image but using interdisciplinary approaches from analogue film to performance, drawing and writing. With a specific interest in cinema and storytelling, Hindmarsh’s work unpacks conventions of representation as a way of negotiating influence and the construction of identity. Using the presence of the body and the voice – mediated by recording and playback technology – Hindmarsh explores subjectivity through remoteness, proximity and temporal dislocation. It is a way to question, understand and embody an experience- staying with the uncomfortable, trying to figure it out whilst paying attention to the conditions under which she lives and works, as an artist and otherwise.
Alongside an interest in using the subjective to address and challenge grand narratives her approach remains somewhat structural using doubling, mirroring, reflecting and exposing as a form of critique. This ‘undermining’ of representation in its mediation, influence and fixity is a strategy to keep the work mutable and within a process of transformation. Keeping things shuffling. Moving and being moved.