Natalie Lauchlan

  • Natalie Lauchlan, 2 ár 2 mánuðir, installation in abandoned home in old Blönduós, Iceland, 2014.
  • Natalie Lauchlan, 47 520, semi permanent outdoor installation. Dead birch trees woven into living birch trees, 2013.
  • Natalie Lauchlan, And when I go..., semi-permanent outdoor installation. Cotton on cotton embroidery suspended above a river deep in the forests of the Rocky Mountains, 2013.
  • Natalie Lauchlan, Flashback, performance at NomadGallery, 2014.
  • Natalie Lauchlan, The sound of silence, a poem written on the wall inside of a camera obscura during the 24hour sun of June in Iceland, 2014.
  • Natalie Lauchlan, Window of Tolerance, performance with wool weaving, performed in Blönduós, Iceland, June 2014.

En résidence | In residency : 02 – 03.2015
Présentation publique | Public talk : 30.03.2015


Natalie Lauchlan is a Calgary-based emerging artist. She received her BFA in Craft and Emerging Media from the Alberta College of Art and Design in 2014. Practicing primarily in installation, performance and text art, her works are interventions in their surroundings, effected by and changing with the environment. Informed by personal experience, her artistic practice is a physical manifestation of thought. Drawn by memory, shaped by reflection and altered by interaction.

My practice focuses on themes of loss, time and memory through elemental representations. Concepts communicated through materials, and the agency of objects. My artist practice exists in two forms, each artwork having a dual existence. The work inhabits both the physical and the documented. The physical will age, and eventually die. Just as all living things, it is time influenced. Its life forgotten to the world, insignificant to most, though will live on through the memory of those who encountered it, those who found meaning in its existence. Memory is unaffected by the eternal flow of time, static in the constant movement, and enduring the force of the stream. Precious and untouchable memories stay suspended in time, they are eternal.

Documentation of my practice becomes a physical representation of experience, an artifact of a captured moment of an artworks existence. The photograph, or video, is used as a gateway for memory, it brings the viewer to the experience of being present with the work. The photograph embodies memory, it is a reliving of a moment, of its meaning, each time a photograph is seen. The event of a photograph repeats a moment in time which in reality will never exist again. This is the power of memory.

In my practice, the dual existence of the object, and its documentation, creates two entities, two elements of life, and of loss. The documentation acts as memory, it remains as an image of the work, lasting frozen in time and reoccurring. The installed work ages, is affects and is effected, it is time. Informed by personal experience, my artistic practice is a physical manifestation of thought. Drawn by memory, shaped by reflection and altered by interaction. A cooperation between cyclical and stagnant, between time and memory.

Memory is artifact, every object carries the weight of experience. The relationship between the physical and the perceived manifest themselves in memory, objects are triggers for past experiences. Sensory actions and encounters work as portals to the past. The object is capable of transcending time through sensory interaction bringing the individual back to another time when they smelled the same scent, touched the same texture, saw the same light, felt the same feeling, or held the same weight. The tangibility of memory is the key to remembering. An object, an interaction, an encounter, provokes the past to present itself, to be reminded. The past does not constantly surface, small interactions are forgotten. An artifact prompts this past experience to emerge, the act of remembering. Life is a constant cycle of encounters. A cycle of forgetting and remembering, past influencing present, guiding the future.

Through my time with leCabinet, I intend to explore the material agency of photography. How a photographic medium, 35mm, 120mm, Super8, ect, can influence a viewer, how they can be used in installation, and how they can evoke meaning to a viewer. Material as meaning, content as context.