Nadine Christensen: The Long Echo comprised paintings and sculptures deployed as devices by the artist to sample from everyday rituals and activities. Christensen’s work explores the desire to map and understand our environment as well as the role of narrative and storytelling in the unfolding of information throughout contemporary culture. Through paintings and kinetic objects The Long Echo becomes a collection of the fractures and frustrations of culture and life: a dented car; an upturned vase; a wheelbarrow; crumpled images of a building site.
In Christensen’s suite of paintings the remnants of older images are deliberately left visible; sponge marks are pushed onto the surface and protrude through flat colour, and text is smoked over the top of a composition. These traces echo the interweaving, unfolding and complication of ideas that drive the artist’s research and studio practice. In The Long Echo Christensen considered the detritus that spills out from the local and—via a tangle of string, taking tight corners, and tipping emblems upside down—transcends place and location.