Continuing his investigation of the artifice of image making and the processes of visual perception, Lochore's new work marks a radical departure from the earlier computer generated shadows of window grids which recently have become more fractured and distorted, placing the viewer within a hallucinatory visual field.

The paintings in Still Life continue to explore the condition of the image as an embodiment of the real. The contradiction inherent in the title immediately becomes apparent when one is confronted with the new work. The paintings are of indistinct images apparently in motion. Although derived from a projection of a mis en scène constructed from a dried out branch, leaves and a simple tungsten light, this static motif is splayed across the canvas like the anamorphic vanitas in Holbein's The Ambassadors. This transposition results in paintings which appear to be images of speed, flux and transition, disrupting the genre of the still life or nature morte by its very opposite.

In Lochore's large scale paintings, the canvas assumes the role of the cinematic screen where the spectator suspends his disbelief and projects specific premeditated associations, unable to resist the operation of fiction in the name of the real. In Still Life, nature is represented as a hallucination where the space of the image - the literal projection of the shadow of the branch - doubles as the site of the viewer's own projection of subjective imagination and desire.