Final Week: Laura Lancaster - Shapeshifter - Workplace London
Final week: Laura Lancaster - Shapeshifter - Workplace London | Workplace Gallery Laura Lancaster,& Laura Lancaster& Shapeshifter & WORKPLACE LONDON 61 Conduit Street Mayfair London, W1S 2GB & & Exhibition continues until& Open Thursday - Friday& 10am - 5pm (or by appointment)& & &guity. Because, while releasing a hold, it does not radically cut off the subject from what threatens it - on the contrary, abjection acknowledges it to be in perpetual danger.& & Julia Kristeva, Powers of Horror: an Essay on Abjection, 1980 & Workplace London is delighted to announce Shapeshifter, a solo presentation of Laura Lancaster& take further her ongoing investigation of the uncanny and the abject - both concepts preoccupied with the idea of the boundary and the blurring and destabilisation of the categories it creates - and their relationship to aesthetics. Laura Lancaster,& First explored psychologically by Ernst Jentsch who described it as a product of &y was further developed by Sigmund Freud in his seminal essay&s that we experience the uncanny when a certain trigger brings back repressed childhood conflicts and primitive beliefs that suddenly receive renewed affirmation. The objects and individuals that we&pon, become a threat causing extreme mental discomfort, unconsciously reminding us of our forbidden, infantile impulses.& Laura Lancaster,& x 150 cm,& Lancaster&torted mask covered figures and almost mutilated features, precipitate this particular sense of unease by setting up a chain of associations for the experiencing subject. The paint has been scrubbed, smeared, scraped, and painted with fingers, leaving the viewer with the sense that the figure in the painting has emerged from a violent collision between the artist, the paint and the image. The scale of the work refers to Lancaster&g the viewer&n the process. In& subjective horror one&fronted with one&ction between the self and the other. Lancaster&bject by challenging the borders of the self as we perceive them and revealing an incompleteness, or lack, in ourselves. & Laura Lancaster,& Influenced by the palette and the expressive markings of paintings by Philip Guston and Albert Oehlen, these black and white paintings further efface the boundaries between the subject and the background as forms appear to emerge and dissolve simultaneously. This game of presence and absence serves, by nature, to further confuse and attract the viewer by erasing the distinction between the imagined and the real. The layer of paint becomes a mask in itself and as such adds further ambiguity to the work, whilst the subjects in the paintings, being far removed from their original context, seem simultaneously familiar and unfamiliar. Laura Lancaster,& & Lancaster explores the way in which the image transforms itself during the painting process, embracing the physicality of the painted surface whilst revealing how this process distorts and destabilises the order of the photographic image they result from. The gestural marks themselves become imprints of the performative action as they self-consciously explore of the idea of painterly gesture, its significance, and the myriad ways it can be interpreted. As we are confronted by this new information that conflicts with our existing beliefs, ideas, and values (or what Kristeva describes as disturbing & the ways in which we experience the world and ourselves, whilst questioning painting&ess.& Laura Lancaster,& Click&xhibition. & For all enquiries please contact: [email protected] nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online | Forward this e-mail to a friend | Unsubscribe Visit our home page | Our privacy policy