Lynsey MacKenzie’s practice is a combination of working from observation, memory and intuition. Often one painting becomes a source for another. She is interested in the relationships between painting and time: the timelessness of painting, and the way that painting takes one out-with time, both as painter and as viewer. MacKenzie views paintings as ‘time batteries’, containing the labour and thinking time within them.
The passage of time brings about a flux. Order tends towards disorder. MacKenzie works to capture a feeling of movement, of something fleeting, of nothing being quite pinned down. There is a beauty in the brevity of things. In a sense, the paintings trace time through motion-slippages and spillage meets dry brush areas of static flat plane. The works echo stylistic tropes and harmonies of the lineage of feminist abstraction, from Helen Frankenthaler, Joan Mitchell and Amy Sillman.
MacKenzie is also celebrating painting itself. Both the materiality of painting, and the atemporal nature of contemporary painting, where thanks to the internet, all languages of painting are available to us simultaneously in a way they never have quite been before. The atemporality allows her to borrow and play with various painterly languages simultaneously and to stretch those languages apart.
MacKenzie graduated from GSA in 2019 with a 1st Class BA (Hons) Painting & Printmaking. She received the Great Art Award at the Society of Scottish Artist VAS Exhibition in 2019 and exhibited in the RSA New Contemporaries 2020. She has participated in residencies across the UK.