Using green screen, costume and hyper-glowing imagined worlds and characters, Maclean appropriates found sound from the internet and other sources to create works that are as both 'nauseatingly positive and cheerfully grotesque'; as political and darkly comic as they are exuberantly colour-overloaded and surreal.
In 2013 Maclean won the Margaret Tait Award, a £10,000 commission for a work screened at the Glasgow Film Festival 2014. She has screened and exhibited at CCA in Glasgow, Collective in Edinburgh, Edinburgh Printmakers, Middlesborough Institute of Modern Art (MIMA), Generator Projects in Dundee, the Liverpool Biennale and more. She has also completed a commission for Channel 4 Random Acts.
Rachel Maclean studied at the Edinburgh College of Art.
Find out more on her website www.rachelmaclean.com
Rachel Maclean says of her work:
'My work slips inside and outside of history and into imagined futures, creating hyper-glowing, artificially saturated visions that are both nauseatingly positive and cheerfully grotesque. I am a Glasgow based artist working largely in green screen composite video and digital print, often exhibiting this alongside props, costumes and related sculpture and painting.
In recent videos such as 'Over The Rainbow' and 'LolCats' I create synthetic spaces in which Katy Perry discuses teeth whitening with an aristocratic cat, a decapitated diva dances to hip pop and a pastel blue dog sings for The Queen.
I am the only actor or model in my work and invent a variety of characters that mime to appropriated audio and toy with age and gender. These clones embody unstable identities: conversing, interacting and shifting between cartoonish archetypes, ghostly apparitions and hollow inhuman playthings. My video attempts to unify the aesthetic of The Dollar Store, Youtube, Manga, Hieronymus Bosch and High Renaissance painting with MTV style green screen and channel changing cuts.
Inspired by the Britney Spears head shaving, I explore the moment at which unified, constructed identity throws it's self up and tips into it's opposite. The instant of self-consumption, when the signature white smile of the teen pop sensation begins to hungrily gnaw at it's own image.'