Writing & Editing - London, England, United Kingdom
Macrae's work manipulates popular iconography in film and video through compression, exploring the modern fascination with speed, nostalgia, information and entertainment. She misappropriates the readymade formats of cinema and television through digital media technologies, fixating obsessively on pivotal recurring narrative junctions. These works parody and reconstruct the dynamics of Hollywood clichés, collective memory and the standardisation of film narratives, co-opting the syntax of film language to develop alternative meanings through a post-production remix.Beginning as a filmmaker, all of the work is filtered through film language and theory, with an emphasis on how meaning is contrived and what an audience adds to the experience. Previous work (2000-2008) has largely revolved around narratives, which when highly manipulated reveal layers of cinematic language and collective memory. Early examples are: the epic Gone with the Wind in 5 minutes, with its repeating line of dialogue, a year of Dallas episodes played simultaneously in 18 cliché layers and The Projectionists, stolen film frames installed as a collection of large-scaled prints. Recent work extends outside of the screen to: Odyssey with endless mirrors of space, Sacrifice a giant rotating Nietzschean screen and Double Portrait viewers and master paintings that loop us into the film interface.