Lauren Haughey
is a multidisciplinary visual artist, writer and event organiser based in Dublin.
Her practice is concerned with exploring our present historical moment; a time of increasing techno-cultural acceleration and profound alienation and disembodiment. She values magic and mythos, and engages in post-production: rearranging and recasting readymades, narrativizing existing forms, as a way of understanding the present world, and generating imaginations of new worlds to come. 
She centres her work on emerging technologies as totemic proxies for imaginaries of the future. 

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


CV

Email
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2025

Ad Nauseam
Installation- 1.4m x 3.8m x 1.2m
Walking pad, Apple iMac, acrylic, steel, masking film, algorithmically edited video

This installation situates the viewer on a conveyor belt- a neverending procession forwards, which leads them nowhere. The video work, shown on an iMac which is suspended at eye level, is made of repurposed videos uploaded online. The video is live edited by a computer programme and cycles the viewer through a simulated experience of being consumed. Industrial systems mirror the logic of digestion, consuming the world and treating it as raw material. Digital technologies act as totems for our hopes of the future and promises of new worlds to come. That future never seems to arrive, and our world collapses in the present. Held between progress and entropy, stasis emerges as the contemporary political mode. 

How can we imagine an alternative when it feels impossible to make sense of the world as it exists? 


Accompanying research document- https://eattheworld.hotglue.me/?home

I Can Still Go Back On Google Maps
Video, 7m33s

A video work I made investigating what is saved, and what is let disappear. The only place I can still visit my grandparents’ house is on the Google Maps 2009 Street View. In this work I track my journey re-discovering the area, using my memory of childhood visits to find their home because I didn’t know their address. Through stream-of consciousness voiceover I explore the tension between my personal, sensory memory of the places I’m re-visiting, and their capture as objective, static images by Google. What does our compulsion to remember everything mean for people in the future? 

2024

Source, Stream, Encryption
Site specific installation, 1mx1m

The installation is constructed from geometric perspex sheets, coated with one-way mirror film, which created a translucent, semi-permeable effect. Within the prism, two video streams show documentation from the Liffey’s source, high in the Wicklow mountains. The location of the work at the Silicon Docks, and its refined, futuristic visual was inspired by the opacity of contemporary systems, especially in relation to the internet. I wanted to create a work that spoke to the re-emergence of faith as the primary mode through which to interpret the unknowability of the modern world. The prism acts as a portal, connecting the river’s source and mouth, creating complex overlaying images.

Accompanying research document: https://researchdocument.hotglue.me

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.

2023

Into the Furze
Video documentation of site specific performance, 7m45s
I lived in Poznan for 5 months, and I had to take a different route almost every week because of the ever-shifting labyrinth of railings cutting through the building site the city had become. 
The blockwork, tarmac and concrete had been removed, revealing the sandy foundations the urban environment was built on. Commuters treaded carefully through post-apocalyptic industrial landscapes, dust blowing in the wind; chasms revealing pipes and wires opened beside corner shops. 

The renovation work was surreal, but its end goal was ultimately to reproduce what had been there before.

I collected wild grasses from forgotten ruderal spaces around the city and made a mummer's costume- an archetypal trickster character in Irish Folk culture. Grass is a pioneer species that moves into razed landscapes and creates a hospitable environment for other plants and animals to establish themselves, creating fertility in barren places. 
The practice of mumming creates questions around hospitality towards the stranger. The mummer is a chaotic figure, a roguish agitator who invites wildness into domestic and civilised society. 

The construction presented an opportunity to slip through a door and imagine a disruption to the status quo. To embody the tricksterly, reproductive spread of the wild as it comes into tension with the endless reiteration of urban neoliberal systems and forms.

Household Code
Installation (Found objects, modified objects, textiles, drawings)

2022