Lancaster’s recent paintings are based upon her collection of found anonymous home movies. The incorporation of moving image into her work marks a significant departure for Lancaster. Her new paintings explore the cinematic and the temporal contained with the found image whilst, simultaneously, the depiction of the physical film as object opens up the painting process itself allowing for a deeper investigation into the mechanics of images, and the way in which they are created and consumed.
“In all the works, evidence of the film as an object is visible, in the sprocket holes and marks left on the film, referring to its mechanical, functional characteristics. These elements disrupt the coherence of the images highlighting their constructed nature. These devices also force the abstract and the figurative to exist on the same picture plane and allow for this dialogue to take place more overtly within my practice." (Laura Lancaster, 2015)
The exhibition title Ellipsis refers to a continuity-editing device used in filmmaking. An ellipsis in narrative leaves out a portion of the story, often to condense time, or to allow the viewer to fill in the missing narrative with their imagination. Lancaster’s ‘Montage’ series of large diptychs extract the first and last frame from a film and place them one above the other, literally only showing the beginning and the end.
‘Ellipsis’ Laura Lancaster - Workplace Gateshead, 19 September - 31 October 2015
About Laura Lancaster
Laura Lancaster’s paintings find sources in anonymous snapshots, slides, and films the artist finds in flea markets and junk shops. As a result, her subjects are people and settings she is not familiar with, but that are nonetheless presented in an intimate way. Lancaster paints gesturally, using broad strokes that appear to blur the images; sometimes her paint application is so thick that the strokes drip and distort surrounding forms and give her work a ghostly feel. Lancaster’s palette is usually ghostly and muddy; in 2005, she made a series of monochromes using black paint and the raw canvas for the contrasting color value. More recently, she has begun to explore other categories of photo-based figurative painting in the absence of a figure, as in her series of paintings based on photographs of gravestones.
British, b. 1979, Hartlepool, United Kingdom, based in Newcastle upon Tyne, United Kingdom