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Work Samples

The Sweetness of Doing Nothing

climate change, performance, pageant, Baltimore's Little Italy, lanterns
The Sweetness of Doing Nothing performance/sculpture 2017 wood, fabric, light, paper, 300 suspended repurposed jug lanterns, audio, street pageantry, 20 performers. Climate Change Pageant in Baltimore's Little Italy. A town square created with suspended lanterns and a central sculpture (The Illuminated Fountain of Extinction) with performance that focused on the Italian district's culture and proximity to the Chesapeake Bay. This project was a part Light City:Baltimore’s Festival of Light, Music and Innovation Neighborhood Lights, an immersive public artist-in-residency.

Herbispheres (or a post natural garden of gobbledygook)

installation, garden, water, ceramics, light
Installation 2017 low-fire ceramics, water micro-greens seeds, plastic, glass and LED grow lights Decker Gallery, MICA faculty exhibit The seeds embedded in the surface of the water saturated ceramics sprout under the glow of artificial light of the LEDs, creating a shadowy garden of the un-natural future.

Friends of Friends of Friends

installation, sculpture, sound, western black rhinoceros, anthropocene
Friends of Friends of Friends, Installation 2017 canvas, paint, wood, foam, video and field recordings of red-billed ox peckers and cattle egrets. The installation juxtaposes a singular sculptural object of the western black rhinoceros (declared extinct in 2011) with video and audio recordings of its symbiotic species.The work considers the relationship between species as the environment changes.

On The Brink

installation, sculpture, water, light, sound, sustainalbility
Installation 2016 wood, water, repurposed bottles, video, dye, audio recordings of fish living in the Chesapeake Bay 12'L x 9'H x 4'W The participants balancing movement on the structure triggers an audio response that fluctuates between the sound of the water in the sculpture and field recordings of fish common to the Mid-Atlantic region. With movement and sound the sculpture connects the participant to the natural world.

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About Laure

Baltimore City - Bromo Tower Arts District

Laure Drogoul is an interdisciplinary artist, olfactory spelunker and cobbler of situations who lives in Baltimore, Maryland. Laure works with a wide range of media including projects in which she creates sculpture, performances and events that invite the viewer to be an active participant. She has exhibited and performed internationally and nationally, including The International House of Japan in Tokyo, Corcoran Gallery of Art, Washington Project for the Arts, Baltimore Museum of Art, PS122 and The... more

Installation/Performance 2017-2016

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  • Friends of Friends of Friends

    installation, sculpture, sound, western black rhinoceros, anthropocene
    Friends of Friends of Friends, Installation 2017 canvas, paint, wood, foam, video and field recordings of red-billed ox peckers and cattle egrets. The installation juxtaposes a singular sculptural object of the western black rhinoceros (declared extinct in 2011) with video and audio recordings of its symbiotic species.The work considers the relationship between species as the environment changes.
  • Friends of Friends of Friends

    installation, sculpture, sound, western black rhinoceros, anthropocene
    Installation 2017 canvas, paint, wood, foam, video and field recordings of the red ox pecker and cattle egret. The installation juxtaposes a singular sculptural object of the western black rhinoceros (declared extinct in 2011) with video and audio recordings of its symbiotic species.The work considers the relationship between species as the environment changes.
  • Herbispheres (or a post natural garden of gobbledygook)

    Herbispheres (post natural garden of gobbledygook) 2017/ Low-fire ceramics, water micro-greens seeds, plastic, glass and LED grow lights. The seeds embedded in the surface of the water filled ceramics grow under the artificial light of the LEDs creating a shadowy garden of the un-natural future.
  • Herbispheres (or a post natural garden of gobbledygook)

    installation, garden, water, ceramics, light
    Installation 2017 low-fire ceramics, water micro-greens seeds, plastic, glass and LED grow lights Decker Gallery, MICA faculty exhibit The seeds embedded in the surface of the water saturated ceramics sprout under the glow of artificial light of the LEDs, creating a shadowy garden of the un-natural future.
  • On The Brink

    installation, sculpture, water, light, sound, sustainalbility
    Installation 2016 wood, water, repurposed bottles, video, dye, audio recordings of fish living in the Chesapeake Bay 12'L x 9'H x 4'W The participants balancing movement on the structure triggers an audio response that fluctuates between the sound of the water in the sculpture and field recordings of fish common to the Mid-Atlantic region. With movement and sound the sculpture connects the participant to the natural world.
  • What Your Nose Knows (Medieval Smell Séance)

    perfomance, smell perception, olfaction, body space
    performance 2017 olfactory specimens,blindfolds, audio and 25 participants The olfactory séance was a participatory performance about smell perception, memory and time, with blindfolds and olfactory specimens based on the Middle Ages. The performance was in conjunction with the exhibit A Feast for the Senses: Art and Experience in Medieval Europe at the Walters Art Museum. This performance is part of Olfactory Factory which is an ongoing project about smell perception.
  • The Way of Lead (.38 caliber)

    performance, casting bullets, lead casting pot, historic garment, cap and ball revolver, civil war
    performance 2017 civil war era period garment, candle, smelting kiln, lead, bullet mold making tools, vapor mask, water and metal table. DCenter Gallery (as part of Labbodies performance festival), Baltimore MD In this performance I ritualize through hand movements and timing the process of casting .38 caliber bullets designed for a civil war caliber revolver. After the casting process I hand them to the audience. Pictured is the revolver.
  • The Way of Lead (.38 caliber)

    performance, casting bullets,
    performance 2017 civil war era period garment, candle, smelting kiln, lead, bullet mold making tools, vapor mask, water and metal table. DCenter Gallery (as part of Labbodies performance festival), Baltimore MD In this performance I ritualize through hand movements and timing the process of casting .38 caliber bullets designed for a civil war caliber revolver. After the casting process I hand them to the audience.
  • The Way of Lead (.38 caliber)

    performance, history, casting bullets, lead, cap and ball revolver, period garment
    performance 2017 civil war era period garment, candle, smelting kiln, lead, bullet mold making tools, vapor mask, water and metal table. DCenter Gallery (as part of Labbodies performance festival), Baltimore MD In this performance I ritualize through hand movements and timing the process of casting .38 caliber bullets designed for a civil war caliber revolver. After the casting process I hand them to the audience.

Installation/Performance 2016-2014

  • Potty Training for Adults and other Civil Duties

    participatory performance, civil duty, body space, sustainability
    Potty Training for Adults and other Civil Duties performance 2016 adult diapers, tunnel vision spectacles, soap, Q tips, towels School 33 Art Center This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles.
  • Potty Training for Adults and other Civil Duties

    participatory performance, civil duty, body space, sustainability
    Potty Training for Adults and other Civil Duties performance 2016 School 33 Art Center This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles.
  • Potty Training for Adults and other Civil Duties

    participatory performance, civil duty, body space, sustainability
    Potty Training for Adults and other Civil Duties performance 2016 School 33 Art Center This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles.
  • Teetering X Tottering(On The Brink)

    Sculpture 2015 wood, water, repurposed water bottles, micro-controllers, sensors, speakers, light Teetering X Tottering(on the brink)—is a kinetic sculpture that invites the viewer to balance up or down creating an experiential awareness of water as a shared resource. The participants movement of the see-saws in this audio work triggers the recorded sounds of the fish common to the Chesapeake Bay, thereby connecting them to the natural world.
  • Teetering X Tottering(On The Brink)

    Sculpture 2015 Wood, water, repurposed water bottles, micro-controllers, sensors, speakers, light Teetering X Tottering(on the brink)—is a kinetic sculpture that invites the viewer to balance up or down creating an experiential awareness of water as a shared resource and illustrating the hydrologic cycle in the earth’s atmosphere. The participants movement of the see-saws in this audio work triggers the recorded sounds of the fish common to the Chesapeake Bay, thereby connecting them to the natural world of the Mid-Atlantic.
  • Art Guard (en garde)

    ART GUARD (en garde) 2014 performance as part of Labbodies Lab Baltimore Museum of Art Performance with recorded tape (audio guide), plaster mask and museum guard uniform. With this performance, I suggested that the guard be considered the art of the museum. Masked and uniformed as a Baltimore Museum of Art guard, I offered lessons in self-defense with a pre-recorded audio guide.
  • Art Guard (en garde)

    ART GUARD (en garde) 2014 performance as part of Labbodies Lab Baltimore Museum of Art Baltimore, Maryland Performance with recorded tape (audio guide), plaster mask and museum guard uniform. With this performance, I suggested that the guard be considered the art of the museum. Masked and uniformed as a Baltimore Museum of Art guard, I offered lessons in self-defense with a pre-recorded audio guide.
  • SWAN SONG (After-Life Karaoke)

    installation, performance, karaoke, audio, hearse
    SWAN SONG (After-Life Karaoke) Installation/performance 2013 (on-going) modified 1969 hearse, karaoke machine, speakers, disco ball, light This artwork is a mobile karaoke room in a funeral car. The installation invites the viewer to repose in the back of a hearse and sing a Karaoke song, eulogize or simply listen. SWAN SONG explores issues relating to loss, death and the finite nature of the body....and the world. This project is ongoing and moves to different locations in Baltimore.
  • SWAN SONG (After-Life Karaoke)

    video documentation of SWAN SONG (After-Life Karaoke) Installation/participatory performance 2013 Swan Song is a mobile karaoke room in a Funeral Car. This mobile installation invites the viewer to repose in the back of a hearse and sing a song, eulogize or simply watch and listen. Swan Song explores issues relating to loss, death and the finite nature of the body...and possibly the world.

Installation/Performance 2014-2012

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  • Going To Seed

    Installation 2014 Ceramics, light, water micro-greens seeds (arugula, chia, cress, flax). Baltimore Clayworks Project Room Over the course of the project, I created and cultivated with different clay vessel shapes and seeds. The project was site specific to the Gallery's sunroom. The work invites the viewer to care for the small micro-green gardens by misting the sprouting vessels as they grew over a 5 week period and then I invited them to snip and taste the sprouts.
  • Going To Seed

    Installation 2014 Baltimore Clay Works Ceramics, light, water micro-greens seeds (arugula, chia, cress and flax). Baltimore Clayworks Project Room Over the course of the project, I created and cultivated with different clay vessel shapes and seeds. This installation invited the viewer to care for these mini-gardens by misting the vessels and I invited them to snip and taste the sprouts.
  • FatherSky/Shezilla

    sculpture, light, mirror, sound
    Sculpture 2013 10’x8’x13′ (size variable based on ceiling height) wood, paper, fabric, light, sound, mirror
  • Pendulum(Oracle)

    installation, sculpture, water, light, sound
    Installation 2014 water, blue light, lens, string, 4 participants 10'H x10'L x10'W EMP Collective, Baltimore, MD In this installation the participant is invited into a room that contains a suspended water filled pendulum and invited to gently manipulate and/or ask questions of the pendulum via 4 attached hanging lines.
  • Pendulum(Oracle)

    installation, sculpture, water, light, sound
    Installation 2014 water, blue light, lens, string, participants EMP Collective, Baltimore, MD Detail of pendulum in use. In this installation the participant is invited into a room that contains a suspended water filled pendulum and invited to gently manipulate and/or ask questions of the pendulum via 4 attached hanging lines.
  • Fauxbow

    sculpture, water, light, sustainalbility, Baltimore rainbow
    Sculpture 2012 Influx Gallery, Baltimore 100 liters of bottled water, repurposed water bottles, light, wood, dye
  • Fauxbow

     sculpture, water, light, sustainalbility
    Sculpture 2012 Influx Gallery, Baltimore 100 liters of bottled water, light, wood, dye Detail of cut stacked bottles

Installation/Performance 2012-2008

  • Invocation for The Last Full Measure of Devotion (seance for patriots' dreams)

    historic garments, shoes, video, fabric, glitter, flowers
    Site-specific installation 2008 300 military uniforms, 2 channel video, 18'x15'x8' Arlington Art Center Arlington, VA
  • Invocation for The Last Full Measure of Devotion (seance for patriots' dreams)

    historic garments, military uniforms, video, velvet, glitter, flowers
    Site-Specific Installation 2008 300 military uniforms, 2 channel video, black velvet, flowers, glitter 18'x15'x8' Arlington Art Center Arlington, VA
  • Headform for the Age of Magical Thinking

    Sculpture 2010 wood, paper, fabric, video, interactive media Suspended 7'x6' diameter (head) Julio Gallery Loyola University
  • Headform for the Age of Magical Thinking

    wood, paper, fabric, new media, video
    Sculpture 2010 wood, paper, fabric, video, interactive media,chair Suspended sculplural form 7'x6' diameter (head) Julio Gallery Loyola University The installation explores ideas of mental causation and the role that technology plays in the process. The gallery is dominated by a disembodied head that is offered as a specimen of modern man. The puppet head responds to movement and greets the viewer with a telephonic response.
  • Writing Device

    Writing Device Performance 2005 Amplified paper, pen nibs, ink, amplifier In this performance, my fingers are attached to 10 pen nibs. The movement of my hands the nibs and ink on the amplified paper create writing/mark making into sound.
  • MiMi

    parade, pageantry, performance, community, sustainability
    MiMi 2 channel video projection 2011 Mimi DiPietro Ice Rink Public Project Parade Director 2011-2013 Great Halloween Lantern Parade Patterson Park, Baltimore MD As the director of the lantern parade I ipresented site specific video projections in the Park - projecting onto the Mimi DiPietro ice rink dome.
  • Swan Parade Float

    parade, pageantry, performance, community, sustainability
    Lake floats made from repurposed Baltimore Marathon plastic jugs, paper and bamboo. 10'x8'x7' 2011-2013 Parade Director Great Halloween Lantern Parade,Patterson Park, Baltimore MD As Parade director I designed and facilitated lantern and float workshops from repurposed plastic trash to promote environmental awareness. I fabricated and taught a series of lantern and float workshops. The workshops challenged the community to use existing materials, through collection and re-purposing to create illuminated parade objects for the annual Halloween Lantern Parade .
  • Lantern Parade(Cosmic Park)

    parade, sustainability, lantern workshops, performing objects
    Lake floats made from repurposed Baltimore Marathon plastic jugs, paper and bamboo. 10'x8'x7' 2011-2013 Parade Director Great Halloween Lantern Parade,Patterson Park, Baltimore MD As Parade director I designed and facilitated lantern and float workshops from repurposed plastic trash to promote environmental awareness. I fabricated and taught a series of lantern and float workshops. The workshops challenged the community to use existing materials, through collection and re-purposing to create illuminated parade objects for the annual Halloween Lantern Parade .

Sculpture/Installation (Rotten Enchantments)

  • She Pod of Rotten Enchantment

    Sculpture 2009 Decker Gallery, MICA, Baltimore, MD Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • She Pod of Rotten Enchantment

    Sculpture 2009 Decker Gallery, MICA, Baltimore, MD Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • She Pod of Rotten Enchantment

    side view (detail) The viewer enters the interior installation through a doorway located on either side of the figure, between the arm and leg. Sculpture 2009 Decker Gallery, MICA, Baltimore, MD Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock.
  • She Pod of Rotten Enchantment

    detail of interior space with hammock. Sculpture 2009 Decker Gallery, MICA, Baltimore, MD Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • The Root....(blue-eyed)

    The Root....(blue-eyed) 2004 Sculpture 2004 Evergreen House, Johns Hopkins University, Baltimore MD Wood, fabric, photocopy paper, light, plantings, seed pods, dried roots with video.15'x10'x10'
  • The Root....(blue-eyed)

    The Root....(blue-eyed) 2004 Sculpture 2004 Evergreen House, Johns Hopkins University, Baltimore MD Wood, fabric, photocopy paper, light, plantings, seed pods, dried roots with video.15'x10'x10'
  • The Root....(blue-eyed)

    back view of the interior garden

Installation/Performance 2008-2005

Frequencies for Darwin takes the form of a small theater that contains a voice activated, vibrational instrument. This project contains a participatory sculptural object that harks back to the parlor games of the 19th century. The work invites the viewer to sit and speak into the microphone to communicate with the common earthworm. The glass jar contains approx. 1000 red wigglers (a variety of earthworm), who, with time will move in response to the vibration of the glass. The work is inspired in part by the experiments of Charles Darwin with worms and vibration as discussed in his seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
We have much in common with the earthworm. Worms respond to vibration, such as the patter of rain or the pecking of the birds on the earth. Humans also communicate with vibration, via the vibrating folds of the larynx, and the vibration of sound transmitted through the air.

  • Frequencies for Darwin (vermi conversation) 2006

    Instructional card for performance. In this installation the participant is invited to talk and listen to worms via a sculptural instrument. The worm filled glass jar has been modified with an audio speaker that vibrates when the participant speaks through the microphone. This work is inspired in part by the experiments of Charles Darwin with worms and vibration as discussed in his seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
  • Frequencies for Darwin (vermi conversation) 2006

    1000 red wigglers, microphones, amplifier, red light. In this installation the participant is invited to talk to worms via a sculptural instrument. The worm filled glass jar has been modified with an audio speaker that vibrates when the participant speaks through the microphone. This work is inspired in part by the experiments of Charles Darwin with worms and vibration as discussed in his seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
  • Frequencies for Darwin (vermi conversation)

    (detail of installation) This image shows the modified speaker which amplifies the voice via the microphone and vibrates the jar of worms. Because the worms are light sensitive they are placed in red light to allow the participant to see them respond to the vibrations. We have much in common with the earthworm. Worms respond to vibration, such as the patter of rain or the pecking of the birds on the earth. Humans also communicate with vibration, via the vibrating folds of the larynx, and the vibration of sound transmitted through the air.
  • SonicWormWagon

    Conflux Festival of Psychogeography Tompkins Square Park, NYC 2009 modified red wagon, 500 worms, audio 2009
  • Symphonic Stitch

    public art, sound, needlework, knitting, community, craft
    Symphonic Stitch is an interactive installation and performance with projected light and sound. The project invites the visitor to participate as part of a musical knitting circle. The knitter’s needles are equipped with tiny microphones, which amplify the percussive nature of the knitting process, capturing the rhythmic counter point of the participant’s hand movements. The sound generates a projected visual that references the body's physiological system.
  • Symphonic Stitch

    Symphonic Stitch is an interactive installation and performance with projected light and sound. The project invites the visitor to participate as part of a musical knitting circle. The knitter’s needles are equipped with tiny microphones, which amplify the percussive nature of the knitting process, capturing the rhythmic counter point of the participant’s hand movements. The sound generates a projected visual that references the body's physiological system.
  • Apparatus for Orchestral Knitting

    Knitting Jam at Atomic Pop. Baltimore, MD 2007 Featuring the portable, in a suitcase version of the apparatus.
  • Apparatus for Orchestral Knitting

    Musical Knitting in Fairmount Park, Philadelphia Pa. 2010 This is a mobile street or garden version of the project. A battery powered amplifier allows me to travel to street corners and parks.

Scentorium (olfactory factory)

Scentorium (olfactory factory) is a performance and installation project about smell perception and geography. It is an ongoing work (started in 2002) that takes many forms, including an on-line interactive map and survey to collect smell data. www.olfactoryfactory.org. This work has been exhibited as an installation and performed in Baltimore, St Petersburg, Russia, Tokyo, Japan and New York City.

  • Scentorium

    The Scentorium is pictured here installed as part of the Out of Place exhibit at University of Maryland, College Park, MD 2007. The gallery visitor is accessing the on-line survey.
  • Scentorium (olfactory factory) 2007

    A gallery visitor entering survey info to be included in the Global Smell Map.
  • Scentorium(olfactory factory)

    Side view with "prepared" radiators, which include thermodynamic smell specimens.
  • Scentorium performance

    As a Smell Hostess, I blindfold a willing participant and various olfactory specimens are placed under their nose. They are asked a series of questions connected to the specimens. I specifically ask them not to try to identify the specimen but to simply respond to the scent and the memory it may evoke.
  • Scentorium performance

    On Charles Street, Baltimore Md 2005 as part of the High Zero Festival. My assistant records the response of the participant. Later the responses are read back to the visitor.
  • Scentorium performance

    At the Baltimore Farmers Market
  • Essence (olfactory factory)2004

    In Japan, the project took the form of a survey with multiple performances titled Essence (with Mami Takahashi) and culminated with a larger collaborative Scent Salon at the International House in Tokyo. In Japan, the response was tremendous. Pictured here the Essences are visiting the sites directed by the Japanese survey cards.
  • Essence (olfactory factory)2004

    In Japan, the project took the form of a survey with multiple performances titled Essence (with Mami Takahashi) and culminated with a larger collaborative Scent Salon at the International House in Tokyo. In Japan, the response was tremendous. Pictured here the Essences are visiting the sites directed by the Japanese survey cards.
  • Olfactory Factory

    Smell Map page
  • Olfactory Factory 2002-ongoing

    Smell survey card. The survey card and on-line survey is used to collect data and identify potential specimens for the installations. The on-line survey also directly uploads the visitors smell data to the Global Smell Map.

Bozo Prison (for four or more)

Bozo Prison(for four or more) is a architectural follie/theater in the shape of a clown. Four or more performers are invited to perform in the cages to yell, shout or scream insults and angry words at the viewer. It is a vessel for venting and airing one's angst.
Created in 1999 as part of Artscape.

Sculpture (more Rotten Enchantments)

These illuminated Sculptures often contain interior spaces for events to occur. I consider them small theaters for a performative act or an interaction. They are built, similarly to a lantern or kite in multiple forms, then stacked. The surface of the work is photocopy paper, that I wheat paste onto the surface. These papered surfaces often contain a conceptual element or a reference point for the work. All these sculptures have an accompanying sound track.

  • Dolly

    Sculpture 1997 8'dia. x 25'ht.(lit at night) wood,fabric,paper,light,sound
  • Dolly

    Dolly Sculpture 1997 8’dia. x 25’ht. Wood, fabric, paper, light and sound Artscape Festival of the Arts, Baltimore, MD
  • Sweetie

    Sculpture 1998 Wood,fabric,paper,plexiglass mirror, light, sound
  • Sweetie

    Sculpture 1998 Wood,fabric,paper,plexiglass mirror, light, sound
  • Tower of Babel/Chance Encounter and alot of blah blah blah

    Tower of Babel/Chance Encounter and alot of blah blah blah Sculpture/Architectural Folly 1993 Wood, fabric, paper, light, sound Artscape Festival for the Arts Baltimore, Maryland
  • Tower of Babel/Chance Encounter and alot of blah blah blah

    Tower of Babel/Chance Encounter and alot of blah blah blah Sculpture/Architectural Folly 1993 8'Dia X 30'Ht Wood, fabric, paper, light, sound Artscape Festival for the Arts Baltimore, Maryland

Installation/Performance 1990-1989

  • Matriarchical Maze

    Sculpture/Installation Artscape Baltimore, MD 30'x30'x8' wood,paper,fabric, audio, beehive. walk through maze with interior beehive
  • Matriarchical Maze

    Sculpture/Installation Artscape Baltimore, MD 30'x30'x8' wood,paper,fabric, audio, beehive. walk through maze with interior beehive
  • Matriarchical Maze

    Detail of papered surface.
  • MissConstruct

    Performance 1990 Cutting a tab of butter with an chain saw PS122
  • Workshop of Filthy Creation

    Performance 1989 Theatre Project, Baltimore MD Baltimore Museum of Art 1991 the Painted Bride Theatre, Philadelphia 1992 Performance based on Mary Shelley's Frankenstein 6 performers
  • Workshop of Filthy Creation

    Drilling an egg
  • Workshop of Filthy Creation

    Performance 1989 Theatre Project, Baltimore MD Baltimore Museum of Art 1991 Painted Bride Theatre, Philadelphia 1992 Conceived and Directed Performance based on Mary Shelley's Frankenstein
  • Fugue Chamber for Amnesiacs

    detail of inner chamber The inner chamber where I offer therapy Installation/Performance 15'diameter 1994 School33 Art Center Baltimore, MD
  • Fugue Chamber for Amnesiacs

    Detail of framed inspirational suggestions Installation/Performance 15'diameter 1994 School33 Art Center Baltimore, MD
  • Fugue Chamber for Amnesiacs

    Installation/Performance 15'diameter 1994 School33 Art Center Baltimore, MD Delaware Museum of Art 1996 (pictured) Washington Project for the Arts

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