In the paintings of Rachel Lancaster we see abbreviations of the figure, neatly cropped, softly rendered, but with resounding presence. The gentle haze of her images recall the Photopaintings of Gerhard Richter and such gentleness of mood and application is then tested by the propensity for an action that we often see in her depiction ofthe figure. Simultaneously in stasis and flux, Lancaster choreographs a fragile tension in and of her compositions.