The ambition in Laura’s work is to generate a kind of intrigue and an appeal that touches a powerful nerve (perhaps ancient in its origin) that we cannot precisely locate. Her work has been driven by a personal (and solitary) desire to build and shape form with her hands. The thrill of making an internal space by turning and tying the material into position provokes a strong desire to make. It responds primarily to the structural features of a particular site, in much same way as the questing foot of a Weaver bird might regard the flex of a bough or a colony of wasps might collaborate within the rafters. She also responds to the feeling of the site and the opportunity to give the work (and in some way, the host structure) a sense of movement, of slow growth, as if the work will continue to grow when the viewer’s back is turned. Sometimes the curvaceous outline of the work will stand out in deep contrast with its surroundings and sometimes it is mistaken within a viewer’s peripheral vision as an assumed part of the natural world and is only fully registered during a quizzical second glance.
Laura is still powerfully driven to create spaces of some kind and over a decade into her work, her passions have returned not only to merging with the simplicity of dry stone walls (where she began), but also towards connections with architecture.
Laura’s installation have inhabited the facades and grounds of the Holburne Museum, Bath; the Ruthin Craft Centre, Wales; The Gallery, Winchester Discovery Centre; Blackwell, The Arts and Crafts House, Cumbria; Derby Museum and Art Gallery and Chatsworth, amongst others.