Laura Gonzalez


A conversation with Carmel — 22 May 2013

It has taken me over a month to recover from handing in the book. A month where, of course, I have not been idle. I have been ill, though, too often, so I am going on holiday to recover properly to the post-book catch up. Not all has been bad, though. I can now forward roll, do the crab, almost cartwheel and hand stand. not bad for someone that was never a proper child.

I am going to be writing a lot in the near future, but I am going to be dancing even more. I am straight back into it when I come back, as part of the community cast for the Barrowlands Ballet’s piece ‘A Conversation with Carmel’ at Tramway. Another performance opens for me that same week and then I will launch into a 5-day development opportunity and perfecting my backward rolls. Keep your eyes peel for writing will be an integral part of all of that.


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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.