Laura Noonan is a self-taught artist and curator from Cork, Ireland. She works predominately with lens based fine art and acrylics.
In 2016, Laura formed the photography collective ‘Meet Me at the Lamp(p)ost (MMATLP)’ in Vancouver with collaborator Tara Mary Paget. Through place-specific street photography, ‘MMATLP’ celebrates the present and promotes contentment in self and place. Further to ‘MMATLP,’ Laura also works as a solo artist, using fragmented and sometimes unsettling imagery to depict society’s evasive masks and layers while simultaneously casting a stark light on the human condition. Some of Laura’s solo projects include: ‘Pigeon,’ a series of imagery that unveils a microscopic study of the human cycle and psyche as means of highlighting the perpetuation of negativity in society. Her new work entitled ‘Bordolle’ is now being exhibited at the Vancouver Visual Art Foundation’s Bentall Gallery through March 2021.
In addition to her practice, Laura has developed arts-based programming across Metro Vancouver that ranges from student mentoring initiatives and workshops to art competitions, artist talks, film screenings and gallery hops. She has worked with Capture Photography Festival, the Magenta Foundation, TED and more. Her commitment to activating awareness and curating engaging opportunities within the arts is constant. Laura lives and works in East Vancouver and continues to draw inspiration from the mosaic neighbourhood every day.
Exhibition Biography (Bordolle)
The work is centred on female representation. Using found objects and ideas around ‘The Body,’ the imagery attempts to express the complexities built into female identity and the notions of femininity that come with it. The ragdolls portrayed in the images are a symbol of innocence, constancy, and uniformity. The ragdoll itself first appeared at the turn of the 20th century and established ideologies around femininity that we still relay and limit women to today. Although these ideologies have evolved, the connotations the ragdolls incite, linger in Barbie and Polly Pockets and other ‘toys for girls’ we champion now, to demonstrate that ‘The Angel in the House’ philosophy of women will always be present and applicable through the patriarchal gaze. Like women, ragdolls are discarded beings. The ragdolls featured in ‘Bordolle’ speak an aggressive yet stoic truth that provokes female empowerment. They are not victims.