Please upgrade your browser

For the best experience, you should upgrade your browser. Visit our accessibility page to view a list of supported browsers along with links to download the latest version.

Kristina Chan

MA work


Stalactites and stalagmites merge, forming columns: eras meeting, calcified in time. Immobile and fixed, the chambers stand several stories high. We walked through passages as if through eras. Each chamber grows in linear progression and narrows with each step.  The bedrock looses its verticality and instead stacks itself horizontally in layers called shelves.  The stone is thin but hard and forms a platform that supports our weight.  We pull ourselves through a gap amongst its tiers.

Each level marks an ice age, formed when water levels rise and fall and freeze in place – where they lie petrified and fixed, held in place until the earth again regains its warmth.

But they stand, stilled.  Testaments to time.

These caves are dead.

That is the geological term.  This is what struck me.  This haunting emptiness was both metaphoric and literal.

They will no longer grow, or hollow. Their size fixed and unyielding.

Erosion is life and inactivity its death.  

And this world is nothing if not mobile.  

Stagnancy is left for all we leave behind.


These caves are halted breath, a captured scene.  An instant held in time.


  • MA Degree


    School of Humanities


    MA Print, 2016

  • I want to make a work that encompasses life, and in doing so, gains a life itself. Born from sights so vast and expansive, that they lost themselves in wonder. A land that, having reached the edge the world, dismissed abandon and stepped again.

    Let us interpret time experientialy, guided by moments that pass through it. My work serves as the cementing of an instant, pages of a story lost to time. I am the travelling outsider. The observer. My work describes a world I cannot express, from a time that is not mine.  They are abridgements. They represent the passing of a time since halted, reduced to traces and fragments and collisions in time.

  • Degrees

  • BFA Parsons Paris Institute of Design, France, 2013
  • Experience

  • Edition printer, The Artists' Press, White River, South Africa, 2014; Printer's assistant, Atelier Michael Woolworth, Paris, 2013
  • Exhibitions

  • Offprint TATE, Tate Modern, London, 2016; Artist's As independent publishers Symposium, Univeristat Bremen, Bremen, 2016 ; The Exposure Award Black and White Collection, Musee de Louvre, Paris, 2015; Break/Link, CPG Gallery, London, 2016; The Small Press Project, UCL Slade, London, 2016; Rising Stars Exhibition, The New Ashgate Gallery, Surrey, 2015 ; Signature Art Prize, The DegreeArt Gallery, London, 2015; Metabards Launched, IDIO Gallery, New York, 2015; Fiddling While Earth Burns, Dyson Gallery, Royal College of Art, London 2015; Boxed Out, CPG Gallery, London, 2015; #seemetakeover Time Square: Collective Video Installation, Times Square, New York, 2014
  • Awards

  • David Villiers Travel Award and Grant, 2015 ; Shortlisted, Remit Casting Prize, 2015 ; SIPS 15 International Small Prints Show, 2015; Governor General's Award for Excellence, Canada, 2010; Government of Canada Millennium Award & Bursary, 2009
  • Publications

  • Between Our Seas, 2016, 126 pages; INDEX, 2016, 58 pages; re.marks. 2016, 56 pages; Asterism, Kaamna Patel and Kristina Chan, 2016, 40 pages ; Cityscapes, 2013, 136 pages