Updated: Jun 30, 2022
Lara is an artist and researcher working with drawing, sound, writing/text, space, and generative processes with digital media, machine learning and AI technologies. A posthuman perspective influences their work. It converges on the complexity of inhabiting constructed worlds and meanings—motivated by a desire to confound linear time and blur distinctions of the registration of subjectivity, being, memory, and so-called reality.
Digital technologies expand a critical enquiry of their thought into the notions of reality, intelligence and being. They choose to work with AI technologies, neural networks, and algorithms somewhat outside and against their intended use.
Their process involves an approach through assemblage, combining varied mediums to speculate and imagine dimensions of the hard-to-articulate registers of what it means to be.
They hold MA's in Sound Arts from the London College of Communication, University of Arts London and Fine Art from Central Saint Martins, University of Arts London.
Artificial affect and sonic vibrating bodies—being through and with machines to rethink being? I propose exploring thinking about bodies elsewhere, listening and sounding with AI and machine learning with an embodied art practice. My research mixes elements from post-humanist, psychoanalytical and phenomenological inspired work. Working with the voice, where I consider its materiality, the marks, traces, and residue that it leaves on others, and in turn, is constitutive of itself. I explore the voice in the age of synthesis and its agency in a world of scaled and distributed intelligence, embodiment, and disembodiment through the intimate, temporal and microscopic. Sound and sound synthesis, particularly the voice, offer us ways to imagine and speculate about how to be in the world as bod[i]es elsewhere. During this residency, I will expand my research to technological possibilities of being and distributed corporeality to consider who or what is speaking to think about being and world[ing].
To realise the potential of having other bodies, I create interactive generative digital hybrid functioning forms—digital organisms. They are mathematically driven to [re]locate a fluidity of depth beyond and with the X&Y points of cartesian fixity. The un-real-real physicality of digital space helps to rethink ‘our’ place[s] in the world as a confrontation with the limitations of perceived space and time. I want to continue to create dimensions that are only possible to manifest beyond thought and concept with maths and code as a particular way to think of space and time concerning being and worlding. This imagining offers dynamic conditions to be multiple; (an)other body or bodies, a remapping; a hybrid space of being, re-seeing, re-listening, and re-sounding through entangled art practice.
Encounters of the missed, overlooked, unheard, unseen phenomena help push beyond the rigidity of a single idea of the human and the body. The sonic is a way to materialise vibration and matter to speak and transmit/be another or other body(s) elsewhere with artificial and physicality to become cy-being. A way to stay close to the sensory modes of the experiential could be to consider how language resonates with specific types of affects through our bodies. How might digital access modes of participation and access influence our perception of ourselves? I also want to think beyond and challenge generic imagining of techno-scientific bodily driven ideas of the cyborg, the artificial, and the real. This practice-based research would orbit an option of taking the sonic as a materialisation of vibration to intentionally place it elsewhere in other additional body(s). I would investigate this using technical objects, a machine, a hybrid—non-conscious—feedback loop, leakage, slips, gaps, cuts, ruptures, otherness, the something else, the uncanny, elsewhere.