Lauren Haughey
is a multidisciplinary visual artist, writer and event organiser based in Dublin.
Her practice is mainly concerned with exploring our present historical moment; a time of increasing techno-cultural acceleration and profound alienation and disembodiment. 
Any profound moment of change is flagged by an permeability of boundaries, and Haughey's practice places a magnifying glass on these intersections of identity and culture. Her work engages with themes of cyborgification; between nature, technology, humanity and culture.
She values magic and mythos, and engages with the inexplicable and illusory as a way of understanding the present world, and generating imaginations of new worlds to come.

Selected works
2025
Ad Nauseam
Creggan

2024
Source, Stream, Encryption
Infinity Point

2023
Into the Furze
Household Code

2022
Circadian Supplement
Spiders

2021
Vertical Fence

Food Art
Hedge Scullery (2025)
Sculpture Supper (2025)
Kale Kultures (2023)
Chleb i Sol (2023)

Events

BPM (2022-)
Skirmish (2021-)
Hypostasis (2023-)

Writing
2025
The Reproduction of Tiki and the Hawaiian Original
Smart Devices and the Myth of Magical Ease
2024
Fermentation as Embodied Ecological Practice


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Infinity Point
Site specific installation,
Made in collaboration with Nina Fitzgerald Graham.

The installation made was constructed from two one-way mirrors facing into each other, to create an uninterrupted interplay of reflections. Over the 12hr duration of the event the shifting light levels made the mirrors impenetrable at points, reflecting the viewer back at themselves. As the evening progressed and the night grew darker, the projections took over and created a feedback loop which grew stronger, and more elaborate.

The imagery for the projection was inspired by the internet's relationship with the worldly and local - the satellite view. The video is a navigation of unit 44 through this lens, composed of clips from google maps, the stretching and glitching of the “street view”, composite panoramas exploring the 3D from this splicing of singular perspectives; close-ups tracking the cracks in the pavement.