Laura Gonzalez


Seductive Colour — 25 Oct 2010

Dear reader,

I am so sorry I have been neglecting writing to you. The end of the self-inflicted exile from these pages is near. Here’s a quick calendar update:
—— The practice was submitted on Friday 1 October 2010
—— The thesis submission is planned for 1 December
—— The Mock Viva is on the 19th January
—— The real thing is scheduled for 16 February

After that, I am, hopefully, all yours.

In the meantime, you can read a lovely conversation I have had with Alexandra Melissa Korley, published in Illywords. We talk about colour, Duchamp’s Étant Donnés and Casanova, and I give an essential reading list. Don’t expect straight answers for me, though. I have learned enough about seduction to know how to work a tease. Still, I hope you enjoy it.

Till February, with trepidation,


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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.