Laura Gonzalez


29 Jun 2006

Drawing as a mode of enquiry

Betty Boo

Character skeletons by Michael Paulus found in Dadanoias

There is a strange reversibility in the purpose of his drawings, a cross purpose in trying to give a drawing (or cartoon) a human skeleton. A contradiction… I am not sure if I like it or if it is unbearably smug…

Posted in Blog, Methodology

2 Responses to “Drawing as a mode of enquiry”

  1. bridget said:

    Are you the artist who did BETTY BOOP and her skeleton?? I’d love a copy

  2. Laura Gonzalez said:

    Hi Bridget,

    Unfortunately, it is not me who did that drawing, but an artist named Michael Paulus. You may be able to get in touch with him through his website:

    Good luck!

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.