Gallery

Bridal Accoutrements of the Divorcée

The Messenger Moth

Ephemeral Art Installations

& Figurative Work

The Armor of Three Generations

The Carapace Man

NDA / Non-disclosure Agreement

On My Sleeves

2D Figurative Work

A reflection on Laurie's ephemeral art...

Jen Larson: musician, artist, restoration specialist, and archivist

Metropolitan Museum of NYC / The Grand Ole Opry

"This work is a beautiful meditation and reflection on the passage of time - on what is captured in writing and the ways that can be released and/or transformed. It is also about labor and energy on a very intimate scale - there's the handwork of writing and the handwork of reconfiguring the notebooks into garments. Although the journals are constellation points that mark various moments in her life, they aren't static or frozen in time. The pages and words now move as the wearer moves. As a long-time journal keeper myself, it's interesting to see what's changed and what continues to be a positive or negative part of our emotional, mental and creative landscapes.

The thought of physically deconstructing journals and letting them have a second life as something entirely different is a challenging and beautiful idea. In thinking about transforming these words and pages into clothing I wonder, as the wearer would one feel as if they were carrying the emotional weight of the content or does deconstructing the codex (book form) also deconstruct the power that those words once held?

Clothing can be both physically and psychologically protective and it can also be revealing - these garments seems to do both, with her own words as the fabric."

Español

The Raw Material of Memory is Life Itself

Carlos Jover reviews Laurie's Materia Prima exhibition for OK Baleares,

April 9, 2022 (Excerpted from full published review)

The raw material of memory is life itself. If you work with it and do so with cruel sincerity, what is distilled is Truth, just like that, with capital letters. And in a world full of fakes, self-deception, dissimulation, and false appearances, that memory and truth can regain ground is great news, something truly unusual.

The mechanism that activates Materia Prima originates from the writing, precisely, of some overwhelming diaries by the artist. The curious thing about these diaries, with which she has composed a large part of the works exhibited in this exhibition, is that what really matters in them is the process of writing them, which is carried out as if it were a self-exorcism. Deep down, the principle of art resides in the personal filter that the artist avails in the face of their experiences, so that these experiences, combined with inherited cultural baggage, make up the scenario in which creation can take place, united with talent. Yet, always, no matter how hidden it may be, the artist's personal experience must always be positioned as the foundation, as raw material. The case of this exhibition is paradigmatic in this sense, for in it we witness an amazing display, in diverse allegorical formats of experiences, many of an extremely intimate nature, of the protagonist and artist, Laurie Pearsall.