Writing experimental poetry criticism could be revolutionary—steeped in academia’s legacy, yet wide open for reinvention. My background? Visual art, not literature. That’s exactly why it’s thrilling. I’m not trying to be Greenberg or Saltz—but like them, I aim to break conventions, redefine critique, and shake up the whole scene.
With computers comfortably at our fingertips and AI no longer speculative but integrated into our daily practice, now is the time to experiment—with both traditional and computational poetry.
I write criticism in collaboration with AI trained on my own critical writing, poetry and visual art. It’s a partnership suited to the world we live in. This creates a self-reflective loop, where my critical voice evolves and morphs through machine reinterpretation.
.jpg)
.jpg)
She recently sold her art school to devote herself fully to her writing and art practice. Laura currently serves as Vice-President on the executive board of Plug In ICA, a leading contemporary art centre located on Treaty 1 territory in Manitoba, Canada.
For over 30 years, she co-owned and taught at Paradise Art School, specializing in classical and contemporary art education. Throughout her career, she has explored the intersections of traditional mediums and digital technology, increasingly blending painting, drawing, and photography with generative processes.
Her current focus is visual poetry—experimental, image-based works that merge poetic ambiguity with technological play. By using digital tools in process-driven ways, she ensures the artist’s hand remains central—even in collaboration with machines.
She is also developing a body of experimental poetry criticism, written in collaboration with AI trained on her own work. These pieces challenge conventional interpretation and embrace uncertainty, forming a self-reflective loop between maker, machine, and meaning.
