AWARENESS OF AN ETERNAL HOURGLASS
ARCHIVAL INK ON PAPER
2023
(Another year lies parasitic in the entrails of its successor)
The first year, existing as an almanac of sorts but really more akin to a sequence of portals.
Present as a series of gaslit snapshots that when held in hand are capable of temporal sensory transport.
The second year: emergent, wet wings rapidly hardening, a window onto a landscape of new experience,
watched over by superstitious and mocking gods of anxiety.
What has happened before will happen again. Time speaks in riddles using the language of patterns.
Until the past is unpicked and consoled this cycle repeats eternally as in some grim game of snakes and ladders.
Exploring the circular nature of resolving trauma over the course of two years.
“History repeats itself, first as a tragedy, second as a farce”. Karl Marx
CAT CHAMBERS:
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BIO:
Cat Chambers is a Newcastle Upon-Tyne born and London-based artist/printmaker and creative coder focusing on detailed drawings and intaglio printmaking techniques. UAL. RCA.
Exploring themes of time, belief, fear, mythology and the human condition.
Cat’s work develops from a thorough research methodology which looks to situate often hyper-contemporary subjects within a context of historical and philosophical understanding.
Cat Chambers is a Newcastle Upon-Tyne born and London-based artist/printmaker and creative coder focusing on detailed drawings and intaglio printmaking techniques. UAL. RCA.
Exploring themes of time, belief, fear, mythology and the human condition.
Cat’s work develops from a thorough research methodology which looks to situate often hyper-contemporary subjects within a context of historical and philosophical understanding.
CURRENT WORK:
‘The pandemic reshaped my perception of time, transforming it from a linear progression into something flexible and uncertain. Isolated and away from my studio, days became a blur of dread and stillness.
Immersing myself in long, uninterrupted stretches of reflection. Lens-like, faded memories shifted into focus while recent history coiled and dissolved like forgotten conversations. This period, positioned time as paradox an infinite resource we never seem to possess enough of.
In my current practice, I translate this temporal unease into large-scale, intricate drawings. Solar systems of memory where meaning becomes migratory, shifting with each return gaze- a mirror for the way memory lingers, unfinished.
Using meticulous mark-making, the accumulation of lines mirrors the passage of time itself. Embedded within these layers are fragmented narratives, symbols, and personal history, inviting the viewer to engage in slow, deliberate looking.
By weaving multiple stories into a single composition, I encourage the viewer to revisit the pieces, discovering new connections with each encounter. In doing so, the drawings become a meditation on time, memory, and the act of seeing—prompting us to consider how we measure, experience, and ultimately reclaim our own moments.’
‘The pandemic reshaped my perception of time, transforming it from a linear progression into something flexible and uncertain. Isolated and away from my studio, days became a blur of dread and stillness.
Immersing myself in long, uninterrupted stretches of reflection. Lens-like, faded memories shifted into focus while recent history coiled and dissolved like forgotten conversations. This period, positioned time as paradox an infinite resource we never seem to possess enough of.
In my current practice, I translate this temporal unease into large-scale, intricate drawings. Solar systems of memory where meaning becomes migratory, shifting with each return gaze- a mirror for the way memory lingers, unfinished.
Using meticulous mark-making, the accumulation of lines mirrors the passage of time itself. Embedded within these layers are fragmented narratives, symbols, and personal history, inviting the viewer to engage in slow, deliberate looking.
By weaving multiple stories into a single composition, I encourage the viewer to revisit the pieces, discovering new connections with each encounter. In doing so, the drawings become a meditation on time, memory, and the act of seeing—prompting us to consider how we measure, experience, and ultimately reclaim our own moments.’