Laura Thatcher

Artist Statement

Artist Statement for Laura Thatcher and Franklin Cain-Borgers 


When you hold a photograph up to the sky, place it in front of the sun, and let the light pour over the edges, you understand all that is missing from the picture. By nature images produce ruptures and gaps in the our conception of reality, while providing a key psychic assurance of repetition and resemblance. Bring the photo down and look at what’s within the frame, and realize that regardless of what lies on the surface of the photo paper, it is fixed and idyllic. It is a stagnated hope that can only be captured in a single moment and it is believed to hold earnest truth in it’s fixed and impenetrable frame.

Image has become ideal; and in the current state of our world’s globalized and interconnected economy, stemming from american capitalism, filmic and photographic methods have been geared towards cultivating a lifestyle revolving around consumption and production. They have come to dominate the ideology of the general public, in a similar manner that religion once held as an all encompassing way of living.

We have now reached a point, where capital gain is all that productivity is associated with, efficiency is the pillar of success, and in giving into these globalized ideas, they are then deemed a valuable and lauded form of reality. Media, in all forms, lends more than just a helping hand to preserve and propagate the dominating capitalist machine. It so effortlessly normalizes the alienation and constant visibility of the masses. Due to this we have lost an inherent subjectivity, that is, experiencing our finite lives. Images, particularly moving ones, not only have the capacity to manipulate but to call into question our perceptions. Within this collaborative exhibition, the decisive use of sculptural performance, which evades reproduction, wi​ll collide with ​Classic cinema to to establish a new kind of film / making. Requiring one to reconsider the priorities of looking and listening in each moment.

Societal control operates through the partitioning up of space (sculpture, houses, architecture, computer and flat screen T.V’s) but also the partitioning up of narratives (belief systems, our personal identities, the most deadly part). While keeping this in mind, we will harness narrative film’s expected symmetries and hopeful representational promises, to create an experience that denies the glossy screen and singular perspective of film. We will disrupt and complicate the visual narrative devices, that maintain a particular point of view, by their continual rearrangement and displacement within the gallery. As well as through the experimentation of structure, music, costume, script, and more. By taking three films, two classics, one never­before seen “home” video and further breaking them down through the use of performance and sculpture mimesis of specific moments in these films, we will seek to interrogate the additive rather than transformative qualities of visual/visibility politics of film and challenge the cinematic experience; questioning how we think look and engage with visual media.

Belief is in itself the image: both arise out of the same procedures and through the same terms: memory, sight, love. (Julia Kristeva)