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Sculpture (MA)

Laura Robertson

Located somewhere between the personal and fiction – a sphinx object, a lump of clay and a collective of shipping crates explore alternative and unstable narratives. They inform a never-ending transition.   

An exhibition of four projects:

a-visit-through-the-window is an online project with the Freud Museum

the language of the underland is an installation in a vacant retail premises

we who are least demanding is a public art exhibition at White City Place

live performance from home is an event happening as part of SituationistRCA

Laura Robertson lives and works in London, UK

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Degree Details

School of Arts & Humanities

Sculpture (MA)

Launch Project

Freud's desk

A visit into Freud's study via multiple feline forms; a cat that is recorded to have been a visitor to Freud's house and a Sphinx object.

The 3D print, a liminal creature itself; both material and digital, offers a bridging between the Freud Museum and its online visitor.

A project with the Freud Museum shared via the museum blog.

In Collaboration with:

3D printing3D Scancatcontemporary mythconversationCostumeFreudmythPsychoanalysisPsychologysphinxText

The language of the underland _ install

Masked sphinx _ paper mache, mask, wings

Masked rock _ ceramic, paper mache

Install _ with paper mache painting

Monumental sphinx _ paper mache, raw clay

The language of the underland

The language of the underland _ install

Masked rock _ ceramic, paper mache

Teeth _ plaster moulds

Boots _ paper mache mould, actual boots

Cat crown _ ceramic, stitched insulation cushion

Teeth necklace _ plaster mould, string

Work installed in a vacant retail premise. Only cats were invited.

In Collaboration with:

Twelve shipping crates with 'WE WHO ARE LEAST DEMANDING' painted across the corner, situated along a busy access path.

Work made for [] White [City] Cube [], an exhibition curated by Mina Song for the inaugural Design Trust / RCA Fellowship in Design Curation. By applying ‘adversarial design theory’ the event examined space and exhibition making as a way of ‘actual production of space’, intervening with notions of ‘the public’ and ‘space’.

Twelve shipping crates were positioned along the main access point to White City Place, asking the audience how they would react to a slight change to their everyday path. The work was designed to be moveable should the audience feel provoked, whilst awkward and heavy enough to not make moving them easy. The crates all had ‘WE WHO ARE LEAST DEMANDING’ painted across one corner and were the right proportion for a person to be crouching inside. They formed a sort of collective that interjects both the physicality of the space and it’s social or cultural dynamics.

Curator Mina Song:

‘In a subtle but firm way, the work takes a controversial position to lure engagement, dialogue, disagreement or confrontation from the audience.

The crates were shoved, pushed around, knocked over and written on. This was all part of Laura’s work, and as such she instructed me to not be too fussy about it. I would right the boxes but not in a way that was mandatory. Therefore, I would sometimes put back the crates and sometimes leave them to be. However, a silent dialogue was quickly established between the curator and the audience (or different members of the public), where they would make a statement with rearranging the boxes and I would put them back as the creator intended. It felt like I was actually talking to someone, which escalated into written messages on the crates on the last day.’
Live performance (see times below)

SituationistRCA

Performance Times:

Friday 17th at 10pm
Saturday 25th at 9pm
Thursday 30th at 5pm

Check back at these times to see performances go live.

In Collaboration with:

Situationist RCA is a physical, pan-continental, temporary, see-it-in-the-flesh, blink-and-you’ll miss-it network of events, happenings and installations that will run during the course of RCA 2020. Without our regular degree show interiors to adorn our artwork with, you will be able to find us outside, in the parks, alleyways and skies of both London and beyond, the boundaries of our physical presence scattered globally. The programme is loose, amorphous and active and can be viewed on our constantly updated website.
25 July 2020
20:00 (GMT + 0)
Twitch

Sculpture: Performance with Laura Robertson

A communication from the Sphinx in the form of a digital cabaret in three parts.
Read More
15 July 2020
23:00 (GMT + 0)
Online

Sculpture: Conversation with the Freud Museum

16th–31st July
30 July 2020
16:00 (GMT + 0)
Twitch

Sculpture: Performance with Laura Robertson

A communication from the Sphinx in the form of a digital cabaret in three parts.
17 July 2020
21:00 (GMT + 0)
Twitch

Sculpture: Performance with Laura Robertson

A communication from the Sphinx in the form of a digital cabaret in three parts.

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