Laura Gonzalez

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I share the pain — 6 Sep 2009

Stephen Fry understands the precise feeling:

I began writing seriously when I was about thirteen. Out streamed poetry, stories and novels, the latter of which were always aborted early, usually half way through the second chapter. It took my friend Douglas Adams to encourage me to go further and he did this by pointing out that the reason I had never managed to finish a novel was that I had never properly understood how difficult, how ragingly and absurdly difficult, it is to do. “It is almost impossibly hard,” he told me. It is supposed to be. But once you truly understand how difficult it is,” he added, with signature paradoxicality, “it all becomes a lot easier.” It was many years later that Clive James quoted to me Thomas Mann’s superb crystallisation of this “A writer,” said Mann, “is a person for whom writing is more difficult than for other people.” How liberating that definition is.

In the middle of chapter 4, I am suffering.

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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.