Laura Lancaster makes paintings from found imagery, collected from anonymous analogue photographs and film. She transposes the lost and discarded memories of strangers into an ambiguous territory between abstraction and figuration. Divorced from their specific context and time Lancaster relocates the image to a place of collective memory. Shifting between the sentimental and the grotesque, Lancaster's paintings are uncanny and strange, dreamlike visions from a shared consciousness.
Confronting a gendered history of painting, Lancaster draws upon a range of influences including the work of Francis Bacon, Willem DeKooning, Lovis Corinth, and James Ensor. Lancaster subverts the notion of authorial autonomy, allowing her work to become a conduit through which the lives of the lost and the nameless are connected with our own.
She has shown her work in exhibitions worldwide including Laura Lancaster, New Art Gallery Walsall; A Stranger's Dream, Sargent's Daughters, New York; Laura Lancaster, Wooson Gallery, Korea; Shapeshifter, Workplace London, UK. Group Exhibitions include: Dismaland, Weston-super-Mare, UK; Private Utopia, Tokyo Station Gallery, Japan; Museum of Art, Kochi, Japan; Itami City Museum of Art, Japan; Prefectural Museum of Art, Japan; Kunstmuseum Bern, Switzerland; Museum of Modern Art St Etienne; Glasgow International; October - Salon, Belgrade, Palazzo Della Arte, Napoli; Accademia d'Ungheria a Roma; BALTIC 39, Newcastle, UK; John Moores Prize, Liverpool, UK.
Lancaster's work is represented in numerous international collections including The British Council Collection; New Art Gallery, Walsall, UK; Nerman Museum, Kansas, USA; The Government Art Collection, UK and numerous private collections worldwide. Her work has recently been published in Vitamin P3: New Perspectives in Painting by Phaidon Press, and Picturing People by Charlotte Mullins for Thames and Hudson.