When the world is left only black and grey
When the world is left only black and grey is a poetic reflection on human intervention in nature as well as a creative experiment in constructing nature via various forms of human mediation.
The works in the exhibition originate in the artist’s ambivalent relationship with nature, her Entomophobia as well as her fear of being alone in the wild. Yet by putting herself in the position of a distant observer, the artist confronts the land and natural objects that she fears, unearthing uncanny beauty and identifying mysterious patterns along the creative process. In this journey, she found nature is getting more and more like a human invention, an impure construct and myth that is increasingly becoming a sort of a complex hybrid. Even in the seemingly most untouched parts of the world, traces of human interference or presence can be found.
In a highly technological and globalised world, a new form of “natural” beauty is being created through heavy human involvement. Not only do we destroy “nature” but at the same time we also let it grow in ways that are not supposed to be. This unexpected, artificial change creates a kind of unnatural nature. This unnatural nature creates changes in such a rapid speed and exhibits emergent behaviours that we can no longer easily foresee its consequences, hazards as well as beauty.
The current exhibition reflects on this intriguing dilemma between human intervention and natural development. It intends to provide the viewer with a poetic space for thinking about this difficult and conflicting issue. Hazardous as they might be, the toxic beauty of the traces left by us on this planet are often ironically spectacular and fascinating. Struggling with this realisation as well as her difficult relationship with nature, the artist attempts to use different chemical and toxic processes in producing disturbing and yet visually impressive effects in her work to confront and explore this difficult problem. By capturing the “horror” and damage of the organic/inorganic destruction in the creative process, the artist intends to stage both a symbolic and literal environmental drama that goes beyond the surface. A visual drama that intimately fuses natural destruction with artistic creation.
With digital aesthetics as an inspiration, Chan creates time based work that fuses two worlds into a new one, combining installation and screen-printing, science and art.
Carla Chan (b.1989) is a contemporary artist based in Berlin and Hong Kong where she obtained her bachelor degree in Fine Arts from the School of Creative Media, City University of Hong Kong.
She works with a variety of media including video, installation, photography and printmaking. Much like the never-ending development of new technology Chan considers media art as a medium with infinite possibilities for artistic expressions.
Born in post-digital period she is influenced by computational thinking in her artistic research. She invents different methods of capturing and recomposing in her photographers and moving images. In her works, she often plays with the ambiguity between forms of nature and the digital realm, toying with the blurred boundaries between reality and imagination, figure and abstraction. Her style is minimal and often a dash of Chinese flavour can be found.