Thursday, 28 April 2016

Artist Statement

Laurence Dube-Rushby
Installation Art

Laurence uses her art process as a map; her work is rooted in a fascination for transformative processes.

She creates installations/performances which reflects the energy of physical, emotional and social displacements.
She uses the surrounding natural elements, traditional skills and historical or current narratives as reflective materials, to draw pathways to inner and outer change.
In her recent work, she is specifically interested to explore how preconceived ‘Cultural identities’, can be used to negotiate a socially engaged practice and be developed as ‘stratagems’ to negotiate new places and situations.

Treading on the footsteps of French philosopher Gaston Bachelard, Beuys’ concept of “social sculpture” and ‘psychogeographs’ Rebecca Solnit and Phil Smith, she uses a phenomenological approach to exploring the land and people.

She likes to undertake challenges, often pushing the limits of feasibility, made possible through the learning and sharing of new skills and collaboration with local communities.


Curated by Judy Adam
February 2010
“Lifelines is the second of three visual arts commissioning projects, celebrating and making visible the work of the Kingfisher Project, a major writing in health-care project supported by Arts Council England. 
Laurence Rushby has created a site-specific installation at Salisbury Arts Centre in response to the brief, using a lifeline of red ribbon to link a multitude of personal stories to the architecture of the building. 
Lifeline is a striking and thought-provoking new commission celebrating the importance of art for health and wellbeing”. 
Judy Adam
I invited 4 professional dancers to experiment and create movements around the line; Dr Olu Taiwo, Rebecca Seymour, Debbie Lee Anthony and Michael Mitchell responded beautifully over an afternoon of research which could lead to further performance project.
Photos by Laurence Rushby with additional Photos by Tim Kidner.

'Domesticating Conflicts'- a look back at September 2015-

Domesticating Conflicts (one work as a week long series of interventions in the gallery in a artist collaborative context)

On starting the laboratory of dissent, I was mostly interested to explore the question of responsibility, of citizenship and of audience focus.
Who are we making art for?
What is the true value of what we do?
What is it that we do, exactly?

I looked into my past work and pulled out some materials that would help the enquiry; 800m of knotted red ribbon, a ball of hand spun, hand dyed, red wool, black cards and white pens, words and questions.

Week 2 group, which I was part of, had decided to act as agitators for the full duration of the project in order to provoke/create/invite connections to be made with the full spectrum of artists and art practices engaged (including the visitors, students, Uni staff…).

I responded with a series of interventions aimed at testing the edges of collaborative practice in the context of Dissent, bringing in the burning subject of the migrant crisis and making it impossible for others to ignore.

Agitation 1; Gallery Occupation

Installation 2; "The Ship of Fools"

Sharing time; "Luncheon"

Film; "I see You"