Laura Partin: Intersecting Myth, Science, and the Anthropocene

In the contemporary art landscape, the distinction between scientific rigour and aesthetic fluidity often blurs. Laura Partin, a Romanian visual artist born in 1986, operates precisely within this convergence. With a background initially rooted in mathematics and computer science during high school before pivoting to the fine arts, Partin’s practice is defined by a methodical, research-driven approach that manifests in delicate, layered works on paper. Her oeuvre explores complex themes ranging from the climate crisis and biodiversity decline to gender politics and social psycology.

A Foundation in Theory and Research

Partin’s artistic trajectory is underpinned by significant academic depth. Following her studies in Graphic Arts at the George Enescu National University of Arts in Iași, she pursued a Master’s degree in Art Theory, delving into feminism, identity politics, and contemporary art theory. This theoretical grounding was further solidified by a PhD in Fine Arts from the University of Paris 8 in 2021.

Her process eschews the purely decorative in favour of the conceptual. Partin describes her practice as fundamentally research-driven, often dedicating two to three years to a single theme. She aggregates references from mythology, legends, and scientific data, creating a reservoir of narratives that inform her visual output. This intellectual rigour is balanced by a distinct aesthetic preference for the fragility and transparency of paper, utilising watercolours and inks to achieve a dreamlike, layered quality that canvas rarely affords.

Mar Adentro, 2025

Mar Adentro: Marine Mythologies and Ecological Decline

Currently featured on her ArtRewards profile, the Mar Adentro (2025) series represents a significant body of work situated at the boundary between realism and surrealism. Comprising 46 distinct pieces, this collection investigates the decline of marine biodiversity within the context of the Anthropocene, juxtaposing ecological realities with mythological figures.

Sedna, 2025

The series creates a dialogue between cultural history and environmental urgency. Works such as Sedna, Sedna II, and Asiaq reference Inuit mythology, while Chaac and Tláloc draw from Mayan and Aztec water deities, respectively. These are presented alongside figures from diverse traditions, including Vodyanoy (Slavic), Mazu (Chinese), and Simbi (Haitian Vodou).

Red Coral, 2025

Partin contrasts these eternal mythological entities with the fragility of marine life. Pieces such as Corallium, Red Coral, and Sea Daffodil highlight specific organisms, while titles like Decline, Silent Witness, and Liquid Memory suggest a narrative of loss and erasure. The inclusion of Vaquita, likely referencing the critically endangered porpoise, anchors the series in immediate ecological reality. The medium of watercolour and acrylic on paper reinforces the theme of fluidity and the ephemeral nature of the subjects depicted.

Forest Creatures #63, 2023

Forest Creatures: Trauma and Catharsis

Also available on her profile is the Forest Creatures (2020-2023) collection. This multidisciplinary project, comprising 14 works, emerged in response to the collective trauma of the global pandemic. Through drawing, poetry, and video, Partin utilises this series to illustrate a process of catharsis and healing.

The artworks in this series, numbered sequentially (e.g., Forest Creatures #10, #16, #59), suggest a taxonomic yet personal exploration of the subject. Unlike the specific mythological references of Mar Adentro, these works appear to tap into a more internalised, psychological landscape, consistent with Partin’s interest in psychoanalysis and the subconscious.

Glow in the Dark: Invisibilisation and Illumination

Beyond her works on paper, Partin has expanded her practice to include immersive installations. Her recent solo show, Glow in the Dark (January 2025), draws a potent analogy between the invisibilisation of women artists throughout history and the ecological neglect of insects.

The installation featured oversized representations of insects, fireflies, and dragonflies rendered in neon markers on plexiglass. Visitors navigated a darkened, labyrinthine space using UV torches, uncovering these "glowing" figures while listening to an audio poem based on the biographies of historical women artists. This work underscores Partin’s commitment to "political art that is poetic," using metaphor and sensory experience to critique historical and ecological oversights.

Professional Practice and Philosophy

Partin’s approach to her career reflects a conscious prioritisation of artistic authenticity over commercial demand. Having transitioned from roles in museums and photo retouching to teaching art in Bucharest, she maintains a balance that protects her creative autonomy. She explicitly avoids commission-based work that might dilute her vision, preferring to focus on series that require deep engagement and time.

Her work challenges the viewer to look beyond the surface, offering a critical examination of how humanity intersects with the natural world and its own history. It is a practice that values subtlety and subversion, rejecting the notion that political art must be didactic.

We invite you to explore Laura Partin's full portfolio and learn more about her unique approach by visiting her profile on ArtRewards