A piece of cloth from the rag pile, a stick from yesterday's walk, or sheets of newspaper tangled around the cardboard tube you almost recycled.

Immediately, they become something. Maybe a bird or a baby. A memory or a joke. A monster or, yes, a puppet.

Just as quickly, we begin participating in what they are.

We name them, protect them, or distance ourselves from them. We wonder about them and care for them.

None of this was inside the object. It happened between us.

Deep Puppetry is an artistic practice for studying encounters while they are still becoming.

Why begin with objects?

Objects ask remarkably little of us.

A piece of paper won't feel rejected if we ask the wrong question. A stick doesn't need reassurance. A scrap of fabric doesn't mind if we misunderstand it.

Because the interpersonal stakes are so low, very small relational movements become easier to notice.

Those movements aren't rehearsals for relationship. They are relationship, unfolding under different artistic conditions.

A figure made from paper and tape does not yet know what it is. Neither do we.

We can look.

Look away.

Return.

Move it once.

Pause.

Notice what changes.

Art lets us compose different conditions for encounter: one where not everything has to become something quite so quickly.

The inquiry

Every work asks a variation of the same question. What if something didn't have to be finished before it could be met?

Sometimes the work happens in a studio, a classroom, a museum, or a public square.

Sometimes through found materials or through movement.

The materials change. The inquiry doesn't.

Each work changes one condition just enough for something that usually disappears to remain available.

A different pause, a different glance, a hesitation that doesn’t immediately get swallowed, a shift in attention, or a response that wasn’t available before.

Art isn’t separate from ordinary life, but ordinary life rarely gives these moments long enough to be noticed.

What becomes possible

People discover they don't have to decide what something is before they can begin relating to it.

Children negotiate with neighbors no one planned. Adults find themselves looking a little longer before naming.

A public square becomes a temporary social world. A studio becomes a place where interpretation can wait.

People say things like:

"I still don't know what happened, but something did."

"Something remained unfinished when the name was taken away.”

“Relation shifted when I looked for surprise."

"I found myself not wanting to be in charge."

These aren't observations about art. They're observations about ordinary life.

Ways into the inquiry

Deep Puppetry Studio

A four-week online artistic practice of returning to the same figures, materials, and questions.

Each week changes one condition.

Each return reveals something that wasn't available before.

Learn about the Studio →

Workshops

One-day and multi-day participatory artistic practices for festivals, museums, universities, organizations, and communities.

Children & Schools

Children build unfinished neighbors and slowly discover what it means to share a world that none of them could have imagined alone.

Commissions

Installations and site-responsive works where public participation becomes part of the composition itself.

What people say

“We keep noticing how the work slows us down and how our attention gets wider and more honest. When we stay with the puppet, more becomes visible, and we can actually feel what’s happening instead of trying to make it happen. The atmosphere is gentle and spacious. It’s a place where we can follow what is emerging, even when it is strange or quiet.”
-reflection from a Deep Puppetry cohort

“We entered a space where things didn’t need to be fully formed, where we could delay our automatic responses and stay with what was happening. There was an honesty in the attention, without judgment or praise, that moved me deeply. At times I didn’t understand what was happening. But I began to feel that not knowing didn’t mean I was lost.”
-Anita van Ast

“The general tone and pace of the program allows for time and breath, even in the way Laura explains things, like every thought is a thought in progress. This feels like a demonstration that another pace is possible.”
-Aida Calderon Garvis

“I have learned practices for building relational capacity in ways that do not colonise, extract, consume, define and reduce. Practices that are not about my personal psychology, not about self improvement. I feel I have means now to practice the resistance, the activism of the minor gesture.”
-Mel Curtiss