LAURA JEAN HEALEY

The (Un)Holy Trinity

2022

SYNOPSIS :

'The (Un)Holy Trinity' draws inspiration from three legendary ‘fallen’ women from Biblical times - Eve, Lilith, and Salome - who, through their supposedly ‘unnatural’ acts of defiance, aggression or desire for autonomy have been demonised throughout the ages, serving as a warning of the destructive nature of unchecked female sexuality.

The three filmed performances not only explore these women in their moment of defiance but, more importantly, challenge the demonised perceptions of the ‘unnatural’ woman. Each performance celebrates these powerful women for their supposedly ‘unwomanly’ ways by drawing upon the moment each asserts their agency and will to defy the traditional and suffocating roles that have long been allotted to them. By extension, the performances also question why these ingrained perceptions of powerful women as 'shameful' or 'demonic' - that deny female strength and sexuality - still exist today.

BIOGRAPHY :

Award-winning visual artist Laura Jean Healey produces digital film installations that examine the cinematic experience and the role of the cameras gaze. Having received a First Class BA Honours from Central Saint Martins, where she specialised in 16mm film installation and was mentored by BSC Cinematographer Seamus McGarvey, Healey informs her creative practice by working within the film industry.

Inspired by her extensive experience and technical understanding, Healey’s work examines the objectification of the female form, the cameras inherently voyeuristic gaze, and the desire it raises within the spellbound spectator. In particular, Healey combines the use of digital film technologies - including digital high-speed filming and holographic film projection - with the romanticised aesthetic of the Pre-Raphaelite movement to create large film installations that seek to both engage and seduce her audience. By playing to and embodying the visual language used within traditional cinema, Healey seeks to not only challenge the male gaze, but more importantly, to highlight and question the way in which women have and continue to be objectified within art.