Laura Gonzalez


Why We Love the Shoes That Hurt Us? — 10 Oct 2009


Have you heard the latest criticism on Alexander McQueen’s 2010 Spring Show unveiled in Paris? Well, it is all about the shoes, what they do to the body, hurting, desire and the ability to walk. Something I have to hear constantly about my own collection of stilettos. Why, why, why is the eternal question. Incidentally, my ballet teacher has pointed out that high heels help with posture if we follow his basic exercises of core control.

The New York Times debates this question with care and a fair approach, in comparison to the Daily Mail. Have they never heard of fetishism, or of exhibitionism? Apparently not. Well, let them have crocs and uggs and look stupid.

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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.