Laura (b.1999, she/her) is an architectural researcher and cultural practitioner based in London. Spanning essay, poetry, performance and video, her work explores the technologies weaponised by state, corporate and colonial actors to discipline, survey, securitise and pollute space, bodies, objects and stories. Interested by the disorientating effects of computation, automation and gamification on contemporary visual cultures, Laura utilises her practice as a rehearsal space for technical misuse. In doing so, she joins a growing alliance of activists, artists, coders, hackers, and technologists similarly intent on unleashing technology’s subversive and counterforensic potential. 

Laura holds a BA International Relations degree (First Class) from the University of St Andrews and a MA Research Architecture degree (Distinction) from Goldsmiths' Centre for Research Architecture.

She is the Publishing and Project Coordinator at the design studio OK-RM and its publishing imprint InOtherWords. 





















Index


01
02
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04
05
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07
08


Project

Reverberations
Collapse as method
How to give back a stolen glance
Stone, Virus, Rubble
Echoes
Shuffle, squeak, ssh!, shutter, click
Destruction shall be our inventory 
#europe is not my centre! Medium

Group Exhibition
Public Talk
Video
Video
Writing 
Video
Lecture Performance
Video

Laura Russell
laurarussell16@outlook.com
CV

07    Destruction shall be our inventory

University of Bristol
Paul Mellon Centre
11 July 2025Lecture Performance

Early Career Research Network Summer Symposium: British Art and Architecture in the Digital Age

The lecture performance interrogates the possibilities of “radical un-conservation”—a concept proposed by the artist Dan Guthrie to describe the process of acquiring an object with the intention of destroying it. The destructive potential of radical un-conservation is here applied to the museum’s growing utilization of 3D technologies, which are understood as the latest milestone in the museum’s regime of incessant progress and kleptomania.

The performance explores the possibilities for resistance against the museum’s hoarding and preservation practices, using the OBJ file structure (the file type used to store the spatial data of 3D models produced via photogrammetry) as its key site of intervention. By undertaking its own radical un-conservation work, the artist grapples with the central question: what to do with a history that should not exist?