Kristina Chan received her MA Printmaking from the Royal College of Art London, 2016. As an artist printmaker, graduating with Distinction in MA Print from the Royal College of Art London, she traditionally trained in lithography, etching, screen print, and digital media manipulation.
iKristina debuted at the Anise Gallery Summer Graduate Show August 2016. Her work has since been exhibited in Galerie 104, Galerie éof, Musée du Louvre Paris; Mall Galleries, The Crypt Gallery, and CPG Galleries London; Lyon and Turnbull Edinburgh, Scotland; Project 88 in Mumbai, India; Idio Gallery, New York.
She has participated in numerous art and publishing fairs including Offprint TATE, TATE Modern (May 2015/2016), Small Press Projects, UCL Slade, London (February 2016), Artists’ As Independent Publishers Symposium which toured the Museum für Moderne Kunst Bremen, Germany; Mindepartementet Museum of Art and Photography, Stockholm, Sweden; and Rom8 Gallery in Bergen, Norway throughout 2016, and will feature in the 4th Edition Hidden Door Arts Festival Scotland, taking place in Edinburgh in May 2017. Currently, Kristina is undertaking a graduate residency at Leith School of Art, Edinburgh.
Kristina has work housed in the permanent archives and collections of the V&A Museum London, Royal College of Art London; Shanghai Institute of Visual Arts (SIVA) Shanghai, China; El Minia University, El Minia, Egypt; The Artists’ Press, South Africa; to name a few.
” My works are a culmination and accumulation into site specific history to depict socio-cultural entropic narratives. They explore the correlation between architecture and sculptural landscapes of derelict and disused spaces. I seek sites where the intersection between function and intention have fallen into decline and disrepair, where untold histories recount themselves, in all their brevity, satire, beauty, and collapse.
I work within the reimagined human landscape, looking back to see within: the immense intimacy of the world we shape to suit our needs and what happens when their obsolescence renderers them irrelevant.
I seek out places and sites whose histories haunt and interrupt the present.
From this, series of minimal, often incomplete narratives begin to emerge: like torn pages of a story, experiences reassemble out of order. Anachronisms isolate themselves, still time and demand pause, holding us.”