“In 2008, Carol began to explore the idea of time as distance. This was to be expressed in the evocative, still on-going Postcard Project. In part the Postcard Project follows on from her own interest in travel and communicating journeys to friends back home. It also begins from an increased awareness of the distance between contemporary people, due to time constraints as a result of busy lives, or physically with loved ones moving away, but also with the increased use of social media rather than writing. The concept of the Postcard Project is to ask the viewer to sit, reflect, and forget time, whilst contemplating not only the postcard as mini-artwork, but time itself as a distance that opens up when communication is allowed to break down. On the picture side each hand-made postcard – the current figure runs at over a thousand pieces – has a stencilled image. These images are primarily derived from rubbings of artefacts and textures culled from her travels; an object from France, an iron grate in London, a wood carving from Iran or a stone carving from Greece. Some images may be gathered from daily life as a pattern derived from a physical texture, a shadow falling on a tabletop. Each is preserved on a postcard using the “time drawing” technique and commemorated by the date and location of the original object, pattern or artefact stamped at the bottom.”
- Karen Smith
(Karin Smith has been writing about the contemporary art scene in China since the early 1990s. She as lived in China more than twenty years during which time she has contributed her writings to numerous international and domestic publications and exhibition catalogues, both for individual artists and for group exhibitions. Her personal books include monographs on China’s leading artists, including Liu Xiaodong, Ai Weiwei, Jia Aili, Shi Jinsong and Ma Ke. She is the author of the historical compendium Nine Lives: The Birth of Avant-Garde Art in New China, which examines the careers of nine founding fathers of China’s new art movement which began in 1985.
In her capacity as curator, Smith regularly produces exhibitions in China and abroad. She currently serves as director of OCAT Xi’an, the third of the Shenzhen-based museum group OCAT’s contemporary art museums.)