HEATWAVE DAY 28: TERRY’S DRONE GETS STUCK UP A TREE, BELLA AND EMILY ARE FORCED TO ABANDON THEIR M&S PICNIC, THE AIR IS HEAVY WITH THE FRAGRANCE OF HANGING DOG POO BAGS.
ETCHING ON COPPER. A4
WHITE AND SOFT WHITE EDITION AVAILABLE.
2022.
ETCHING ON COPPER. A4
WHITE AND SOFT WHITE EDITION AVAILABLE.
2022.
Summers are getting hotter and longer. It’s day 28 of the heatwave and the British Public consciousness has started to fray. Mum’s sent us to the park because the tellys broke and she can’t get anyone to come and fix it. The park is shit. The grass has all dried up and the crows are getting closer and closer.
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.’