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During a conversation with Laura in her studio, we spoke about the experience of creating images on images, those devoid of any meaning beyond their aesthetic quality. We quickly arrived at clichéd categorisations of what defines an artist and the ideas surrounding the desire for pure painting. She concluded: “the hands are the painter’s ultimate tool,” admitting that her own obsessions shared this universal matrix. It is as though this icon functions as a common language, serving as a painter’s truest self-portrait.
I remember when, shortly after our discussion, Laura started using gloves to paint, in an exercise of detachment from pictorial production. At the time, it struck me as rather theatrical. But looking now at the weight and presence of hands throughout her work, the gesture makes sense: it was about protection, allowing for a greater distance. By withdrawing from the scene, she opens up a liminal space between image and intention. In a moment of suspense, she grants us…
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Press Release
(EN)
During a conversation with Laura in her studio, we spoke about the experience of creating images on images, those devoid of any meaning beyond their aesthetic quality. We quickly arrived at clichéd categorisations of what defines an artist and the ideas surrounding the desire for pure painting. She concluded: “the hands are the painter’s ultimate tool,” admitting that her own obsessions shared this universal matrix. It is as though this icon functions as a common language, serving as a painter’s truest self-portrait.
I remember when, shortly after our discussion, Laura started using gloves to paint, in an exercise of detachment from pictorial production. At the time, it struck me as rather theatrical. But looking now at the weight and presence of hands throughout her work, the gesture makes sense: it was about protection, allowing for a greater distance. By withdrawing from the scene, she opens up a liminal space between image and intention. In a moment of suspense, she grants us…










