Larain Briggs
ABOUT
Larain Briggs is a British artist whose work explores trauma, transformation, and the complexities of the human psyche through a multi-disciplinary, introspective approach. Grounded in Jungian analytical psychology, her work explores personal and collective crises and how they interrelate. Through analysis of emerging symbols in her paintings, installations, and digital media, Briggs challenges perceptions of reality and illusion to facilitate the process of individuation.
Briggs responds to the complex, transitional, and anxiety-provoking times in which we live that present previously unknown challenges for humanity. Adopting an autoethnographic approach in her research, she explores how artistic practice and engagement can help process trauma and promote emotional resilience and well-being.
She is currently undertaking a Doctorate in Fine Art at the University of East London, researching self-transformation through artistic engagement. Born in 1960 and residing on the East Coast of the UK, Briggs completed her BA (Hons) in Fine Art (Painting) at Camberwell College of Art in 1990 and a PGCE in Art and Design at Goldsmiths College in 1994. Additional studies in Computer-Aided Visualisation at Anglia Polytechnic University, Analytical Psychology, and Art Therapy further enrich her practice.
Exhibiting extensively in the UK and internationally, Briggs has also made significant contributions as a curator, organising exhibitions such as Exploring the Sublime (Harwich Festival of the Arts, 2022) and Beyond the Surface with the Aletheia Art Collective (2021), which she co-founded. She actively engages in artistic dialogue through public talks and events, including discussions on AI and the metacrisis for the University of the Third Age (2024) and a collaborative drawing workshop at Firstsite Gallery, Colchester (2024).
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In this work the artist has appropriated from and manipulated the Sebastian Ricci painting, ‘The Resurrection’ (1716). The artist’s process of distorting religious and familiar historical art symbolises the impact of the enlightenment, the response of romanticism and the sublime and recently the technological digital revolution and the contemporary sublime. The stages of the archetype of the apocalypse, judgement, revelation, punishment and rebirth are represented in this work. The fragmented and fractured Baroque religious painting is a metaphor for the artist’s encounter with the archetype of the apocalypse where reality shifts and past beliefs are necessarily reframed. The content and subject matter of the original painting are relevant to the artist’s expression of this existential experience, also perceived as a collective event.
Digital media
Complex issues of time and space are considered in this work addressing the concept of the limitless and unfathomable sublime. The same figure is placed in two locations, facing opposing directions, intimating the quantum physics theory of an atom existing in two places at once, questioning reality and the existence of the incomprehensible. The impact of the past and present are depicted by the process of appropriating from previous work that was originally an appropriation from historical art. Paradoxical repercussions and reverberations are a theme that resurfaces frequently in Brigg’s process and is apparent in this digital piece. Layers from previous digital manipulations and physical interpretations of ‘The Last Judgement’ and ‘Serenade’ indicate a convergence of the archetype of the apocalypse and the impact of the digital technological revolution. The desire to escape from the instability and confusion of the environment is expressed and illustrated in the abient running figure.
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