A View From the Easel: Flor Khan
“Here, I am allowed to play, to not know the answers, to let the message evolve on its own timing.”
Welcome to the 358th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, Flor Khan collapses time and tenderly revives the memories of her ancestors.
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Flor Khan, Bronx, New York City
How long have you been working in this space?
I have been working out of this particular space since March; before then, I worked in a number of artist studios and my own apartment.
Describe an average day in your studio.
The average day at the studio starts around 4pm, following my daytime job. Typically, I work on two to three pieces at once: Something is usually developing color in my photo processing work station, another piece is drying on the work line, and the other piece is steeping in tannins. If I'm lucky, I get to work with my sewing machine when the fabrics have dried. Before beginning my work, I turn on my salt lamp and light a candle for the ancestors; I ask for their permission to bring their memories back to life. With each stitch, and each photo transfer, I am brought closer to their memory, whether that's working with Victorian-era postcards featuring my Indo-Caribbean aunties or tapping into the photo albums of my late father. For background music, NPR's Tiny Desk plays whichever artist is being featured for the week.
How does the space affect your work?
