![]() ![]() For many artists, computer generated images only highlight the nuances of older technologies, for example a lot of people are going back to work in analogue video and film as they recognise it has a quality that can't be achieved through digital video. Additionally, I think with any celebration of an advance in technology there is always a concurrent denial and nostalgia for the past. In this companion set of prequel stories to Thicker Than Water, discover how Sonia, Jess, Ben and Ruth Dyer are forced to leave London as it descends into chaos. When working I'm often keen to bring styles and processes from older media, particularly painting, into a digital space. They don't necessarily perform exactly the same function, but they use material tools and processes as a starting point. Through her imaginary creatures, Maclean ironies about the. Almost every tool in Photoshop exists in a physical form, take for example the paintbrush, the pen, the paint-bucket and the hand tool. Rachel Maclean (1987, Scotland) is a multidisciplinary artist who lives and works in Edinburgh. I love the possibilities that are opened up by programs like Photoshop and After Effects, but I also think that what interests me about this kind of software is the sense in which it is only ever an adaptation or simulation of methods and techniques available in non-digital media. I think the digital era is as important as you want it to be as an artist. How important for an artist is the digital era? ![]() Although her current practice is focused on video-art, she graduated from the Edinburgh College of Art in. Combining elements of surrealism and fantasy, Maclean’s extraordinary films demonstrate a unique inventiveness, ambition, and technical skill. Most of your work is via digital print and video. 1987) constructs oneiric narratives set in computer-generated landscapes. Everything about her image and actions entertains us through it's grotesquely exaggerated performance of this stereotype and confirms for many the sense of their own relative superiority. Monday, 16th May 2022, 1:36 pm Rachel Maclean, safeguarding minister in the Home Office, admitted the idea would not work for all households, but said the solution for some people could be to look. She's reflective upon a certain kind of social class that are regarded as wealthy but tastelessly brash by the conservative middle classes. I think someone like Katie Price is a good example of this relationship and in many ways performs the function of the Victorian Freak Show for the 21st Century. It is also often reflective of the desire to recoil and distance ourselves from the experience of a particular class, race, gender or sexual orientation. I think the expression or experience of disgust, whether at a work of art or a bodily function, is very interesting and is indicative of our complex social relationship with others. I take inspiration from a whole range of sources, everything from Disney Princess to William Hogarth. I like to toe a fine line between an aesthetic of benign, saccharine cuteness and a distastefully baroque form of grotesquely. Rachel Maclean creates fantastical dreamy narratives in surrealist computer-generated landscapes to depict the zeitgeist of society, politics and identity. I've always been fascinated by images which are at once compelling and repulsive. Rachel Maclean represented Scotland with her solo Pavilion exhibition at Venice Biennale in 2017.What has prompted you to create your beautifully grotesque beings? In collaboration with Channel 4, extracts of the artist’s new commission was televised on Random Acts in November 2016. Maclean is a hand-picked focus artist for Frieze Film in 2016. Published on the occasion of the major solo exhibition, Rachel Maclean: Wot u :-) about?at HOME Manchester, 29 October 2016 – 8 January 2017.Īn extract of the HOME commission was released at Frieze Art Fair, London (October 2016). ![]() With contributions by Rachel Maclean, William Davies (author of The Happiness Industry: how the government and big business sold us well-being), Melissa Gronlund (writer and co-editor of Afterall Journal), and exhibition curators Bren O’Callaghan and Sarah Perks. The first major monograph and stunning kaleidoscopic encyclopaedia of Scottish artist Rachel Maclean’s sweeter-than-candy adventures, featuring comprehensive imagery, stills and drawings from her dark self-generated fairytale landscapes. Her cast of grotesques runs from melting zombies to rats in Disney Princess dresses.’ - New York Times Maclean has a sharp ear for the depleted emotional repertoire and the languages of empowerment and self-realization that salt online discourse. ![]()
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