On display at FACT until Sunday 16 August, They've Got Your Eyes is a theatrical installation that draws you into a vivid, uncanny world where authorship and identity begin to slip. Featuring 3D-printed sculptures and a new multi-channel film created using AI models trained on Rachel's own image and artistic archive, the exhibition examines the motives driving advanced AI and considers how fantasies of power shape its development. 

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About Rachel Maclean

Rachel Maclean has spent the last decade showcasing her ground-breaking work in galleries, museums, film festivals and on television. Working across a variety of media, including video, digital print, sculpture, and VR, she makes complex and layered works that reference politics, fairy tales, pop culture, contemporary media, and more. She has shown her work widely, both in the UK and internationally, receiving critical acclaim in the spheres of film and visual art. Her major exhibitions include solo shows at Tate Britain and National Gallery, London; Arsenal Contemporary, New York; National Gallery of Australia, Canberra; Kunsthalle zu Kiel, and Kunstpalais Erlangen, Germany; KWM Art Center, Beijing; and HOME, Manchester. Maclean represented Scotland at the Venice Biennale in 2017 with her film commission Spite Your Face. Maclean’s solo exhibition, The Enchantment of Reason, featuring new sculptural works and film They’ve Got Your Eyes, is on display at Josh Lilley until 1 August 2026.

About Maria Walsh

Maria Walsh is Reader in Artists’ Moving Image at University of the Arts, London, and author of Therapeutic Aesthetics: Performative Encounters in Moving Image Artworks [Bloomsbury, 2020], a monograph exploring conflictual therapeutics in artists’ film and video in a context of neoliberal cognitive capitalism. She is also an art critic, contributing to magazines such as Art Monthly, Burlington Contemporary, e-flux and Third Text Online. Her research interests lie at the intersection of art history and theory, psychoanalysis, film theory, and political philosophy. She is currently researching how artists’ film acts as an intermediate space that performatively treats divisive social issues.