THE GARDEN OF FLAT-EARTHLY DELIGHTS.
ETCHING ON COPPER. 50X60 CM.
WHITE AND SOFT WHITE PAPER EDITIONS AVAILABLE.
2022.
ETCHING ON COPPER. 50X60 CM.
WHITE AND SOFT WHITE PAPER EDITIONS AVAILABLE.
2022.
Why do people believe in what they believe? What happens when the narrative shifts to the unbelievable? Can it be reduced to fear, comfort-seeking, lack of leadership, socio-economic collapse, an increasingly or decreasingly secular society, technologies outpacing our everyday existence? Do we as a species have a part of our brains that needs to believe in something? This work is from a series of etchings exploring ‘Alternative Narrative’. The truth is out there.
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.’