Entropiphilia  is a photographic project which seeks to recontextualise my memories and experiences in a fictional universe. Derived from the state -  entropy  - and the Greek -  philia  - denoting love or affection, the word encapsulates the complicated feelings I hold for the chaotic and disordered roots of my existence. If entropy is the origin of all things - like the universe at  bang  - then too it is the catalyst for the space I am creating. With it, it brings the profound affection I have for these myriad beginnings. It is said we file memory deep within the confines of our bones, embed our genes with the nuances of lived experience. Perhaps then it is also true that we hold the capacity to reimagine ourselves into new realms, to place ourselves where we might begin to unravel new contexts, be imbued with new narratives, in the process shifting our histories and altering how we retain the core of their teachings.  In the series,  Entropiphilia , I re-photographed 35mm images from my archives (each denoting a personal moment in time and place) through an old computer screen as a way of blurring the partition between truth and fiction, an attempt to excuse myself from my own history while creating passageways to the histories of the viewer. The constructed double exposure - the re-photographing of a photograph - became a way of distancing myself from the original images; as well, it acted as a conduit, a way to tie together pieces of myself from different places and different eras, which over time feel far away. At its core, Entropiphilia is a peace project. It is about accepting both past and present, while acknowledging family, relationships, death, transience, despair and love.
       
     
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  Entropiphilia  is a photographic project which seeks to recontextualise my memories and experiences in a fictional universe. Derived from the state -  entropy  - and the Greek -  philia  - denoting love or affection, the word encapsulates the complicated feelings I hold for the chaotic and disordered roots of my existence. If entropy is the origin of all things - like the universe at  bang  - then too it is the catalyst for the space I am creating. With it, it brings the profound affection I have for these myriad beginnings. It is said we file memory deep within the confines of our bones, embed our genes with the nuances of lived experience. Perhaps then it is also true that we hold the capacity to reimagine ourselves into new realms, to place ourselves where we might begin to unravel new contexts, be imbued with new narratives, in the process shifting our histories and altering how we retain the core of their teachings.  In the series,  Entropiphilia , I re-photographed 35mm images from my archives (each denoting a personal moment in time and place) through an old computer screen as a way of blurring the partition between truth and fiction, an attempt to excuse myself from my own history while creating passageways to the histories of the viewer. The constructed double exposure - the re-photographing of a photograph - became a way of distancing myself from the original images; as well, it acted as a conduit, a way to tie together pieces of myself from different places and different eras, which over time feel far away. At its core, Entropiphilia is a peace project. It is about accepting both past and present, while acknowledging family, relationships, death, transience, despair and love.
       
     

Entropiphilia is a photographic project which seeks to recontextualise my memories and experiences in a fictional universe. Derived from the state - entropy - and the Greek - philia - denoting love or affection, the word encapsulates the complicated feelings I hold for the chaotic and disordered roots of my existence. If entropy is the origin of all things - like the universe at bang - then too it is the catalyst for the space I am creating. With it, it brings the profound affection I have for these myriad beginnings. It is said we file memory deep within the confines of our bones, embed our genes with the nuances of lived experience. Perhaps then it is also true that we hold the capacity to reimagine ourselves into new realms, to place ourselves where we might begin to unravel new contexts, be imbued with new narratives, in the process shifting our histories and altering how we retain the core of their teachings.

In the series, Entropiphilia, I re-photographed 35mm images from my archives (each denoting a personal moment in time and place) through an old computer screen as a way of blurring the partition between truth and fiction, an attempt to excuse myself from my own history while creating passageways to the histories of the viewer. The constructed double exposure - the re-photographing of a photograph - became a way of distancing myself from the original images; as well, it acted as a conduit, a way to tie together pieces of myself from different places and different eras, which over time feel far away. At its core, Entropiphilia is a peace project. It is about accepting both past and present, while acknowledging family, relationships, death, transience, despair and love.


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