Rachel Lancaster's practice has focused on taking numerous photographic stills from found moving imagery, which are then translated into paintings and drawings. Taken from her home television set with a digital camera whilst watching popular movies and TV (such as Madmen, The Horror Channel or The Thing) Lancaster uses the process of photography as a filter through which images are selected and seen afresh, dissociated from their origin.
The cult film and television images that Lancaster captures evade the typical themes with which these movies are associated. Instead, Lancaster is drawn to seemingly insignificant passing shots, extreme close-ups of inanimate objects, and commonplace domestic interiors. Lancaster interrogates the mundane fragments of a greater narrative, focusing on the split second moments that are in-between – an empty chair in a room from Network, a chequered blanket from Chinatown or a bed from The Day of the Triffids. These apparently disparate source materials are brought together and unified through scale and isolation. The resulting, often blurred or pixelated, photographs are then used as the source material for a series of oil paintings.
Mediated by the poor resolution of affordable technology and divorced physically from their position within a narrative structure these paintings become abstract and ambiguous. Yet instead of diminishing their meaning, Lancaster's fetishisation of these images enables them to accrue status and power whilst signifying the unknown 'event' that precedes or follows.
Lancaster's work draws upon the uncanny through the psychological charge of the selected image compounded by its cinematic monumentality; the reproduction or 'doubling' of an image in common cultural parlance; and in the subliminal evocations dependent on our familiarity with the language and conventions of Hollywood.