K R I S T I N A C H A N
F L O R E N C E T R U S T x E A S T L O N D O N P R I N T M A K E R S
F L O R E N C E T R U S T x E A S T L O N D O N P R I N T M A K E R S
I am fascinated by what we build in the name industry and our rejection of its obsolesce. Carriage explores a train wreck in the midst of the Canadian Pacific Northwest. Created in conjunction with East London Printmakers and The Florence Trust, this collection consists of a triptych of painted engravings measuring over 6 meters in length. It explores the site as a cartographic palimpsest of traces, that coalesce to form a cartographic map of memory and its absence. The work invites us to experience a site from scales and time frames beyond our present moment: from the perspective not of years, but generations, and civilisations not our own.
The process itself becomes a narrative. It begins with the encounter and works backward. Experience, memory and history interweave to present a geographic trace through time. Fact presents as fiction, myths of our own making.
This collection is accompanied by an artist book, Carriage, edition of 100.
Photography courtesy of Oliver Holms 2018.
The process itself becomes a narrative. It begins with the encounter and works backward. Experience, memory and history interweave to present a geographic trace through time. Fact presents as fiction, myths of our own making.
This collection is accompanied by an artist book, Carriage, edition of 100.
Photography courtesy of Oliver Holms 2018.
