L. M. RAMSEY



Laura Margaret Ramsey (she/her) is a Toronto-based archivist and imaging specialist working in the cultural heritage sector. Her artistic practice is informed by archival structures, computational ecosystems, and the ethical considerations of non-human animals, plants and machines. 



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LIVING DATA, PRESUMED DEAD

An electronic theatre and mixed-media installation that examines the abstract space that stores trauma in the human brain.

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2022
*Critical Distance Gallery
August 4-31





CRICKET ALARM

A collection of synthetically altered natural field recordings which, following linear mathematical data; signal a mass sonic extinction event.

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HERBIVORY

Herbivory is the feeding on living plant parts by animals, it is a key ecosystem process that has widely recognized effects on primary production and on vegetation structure and composition.

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2020





GROUND

Electrography helps to visually isolate these charismatic organisms, prompting the viewer to consider our own relationship with plants, and the shared desire, with electricity; to find ground.

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2020






GRAVITY

Gravity allows for the falling of pine cones, our day/night cycle, curved starlight and even time travel.

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2020



KARAWANE

The computer generated synthetic voice, modelled after my own; recites the famous 'Karawane' by Hugo Ball, the founder of Dada

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2019




MOONQUAKE

There is a deep moonquake every 27 days, roughly the same amount of time that it takes the moon to orbit the Earth.

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2018





SYNTHETIC MEAT

From an outsiders perspective, this short story examines the human being and reduces it to 'sentient meat'. By creating these synthetic voices, and using them to narrate this story, I am exploring how we represent ourselves as human beings in the digital age.

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2018





ANTECHAMBER

This project aims to build a visual archive of minerals, fossils, and artifacts, which all fall under the rules and responsibilities of Utah public land status.

In basaltic boulders carried from glacial flows, rock art recordings by ancestral peoples, and scattered refuse left behind by uranium
miners of the early 1900s, time and space is book-ended.

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2018