Over decades, Laura Lamiel has built an exceptional artistic identity. In fact, her work and vocabulary have never ceased to evolve, incorporating new elements, and continually blurring the boundaries between the exhibition space and the studio. In the 1990s, after abandoning the frontality of painting, she started making installations where colour and light play an essential role. Her structures, in particular her cells, are as inspired by psychoanalysis as by spiritual cosmology. They host a repertoire of sensible forms constituted by found objects, collections and certain taxonomies of materials that contrast with the immaculate surfaces of steel that she illuminates with fluorescent tubes. In the 2000s, following the cells, she developed other apparatuses—playing with the transparency and reflective nature of oneway mirrors; creating penetrable or buried spaces—while amplifying the biographical and affective charge of the adopted materials.
[Source: LL – Laura Lamiel, monograph, ed. Paraguay Press, 2019]
Born in 1948, Laura Lamiel lives in Paris. Kunstverein Langenhagen, Germany (cur. Ursula Schöndeling), La Verrière, Brussels (cur. Guillaume Désanges), La Galerie - art center, Noisy-le-Sec, France (cur. Emilie Renard), Musée d’Art Moderne de Saint-Etienne, France (cur. Anne Tronche) or The Museum of Modern Art in Rio de Janeiro have all organised solo exhibitions of her work. It was also shown recently at Malmö Konsthall and Biennale de Rennes (cur. François Piron), Mac/Val (Vitry-sur-Seine, FR), Biennale de Lyon (cur. Ralph Rugoff), Fundacio Joan Miro, Barcelona and Centre Pompidou, Paris. Laura Lamiel recently participated to the exhibitions "Future, ancient, fugitive" at Palais de Tokyo (cur. Franck Balland), "Absalon, Absalon" at IVAM and CAPC (cur. Guillaumes Désanges and François Piron, 2021). An important monographic publication has just been published by Paraguay Press at the occasion of her latest personal show at CRAC-Contemporary Art Center in Sète (FR, cur. Marie Cozette).