Lauren Brincat is an artist who works across diverse media from video and performance to sculpture and installation. Brincat employs moving images and their soundtracks to probe historical ruptures and failures of language. Using a variety of platforms – video installation, sculpture, performance and walking scores – her work explores non-verbal modes of expression through narratives or ideas. By distancing us from a logical, direct, language-based understanding, her work opens the door to multiple perspectives and interpretations.
In 2016, Brincat presented Salt Lines: Play It As It Sounds, Performance Instruments, a site-specific installation at Carriageworks as part of the Biennale of Sydney. The piece was recently purchased by the Art Gallery of NSW to be included in their permanent collection. Brincat collaborated with musicians, composers, dancers and writers, twelve in total, with ninety instrument moves. This piece is a continuous work the first of a series of performance instruments that Brincat intends to create. Salt Lines: Play It As It Sounds, Performance Instruments was notably the first ever work with a instructional performance dimension purchased by the Art Gallery of NSW.
Brincat and van Reyk's work Molto Echo (2016) was performed at the Museum of Contemporary Art, Sydney. The score was written for seven drummers who made the MCA walls move, a political piece highlighting the lack of female artists represented in the Arts. This instructional work was acquired by the MCA.
In 2012, Brincat's work Tinnitus was the focus of an art lecture series, Tinnitus: a Symposium on Art and Rock’n'Roll, held at the Department of History of Art and Architecture, Harvard University (2012). Brincat attended and led a feature lecture on her career and work in Boston. Collaboration is an important part of Brincat's practice involving shared projects with percussionists, architects, scientists, choreographers, equestrian riders and indigenous horse whisperers.