Andreea Busuioc: Eva, your exhibition is called "Dislocation." What does this term actually mean to you, and how does it translate visually into the photographs you are showing?
Eva Chapkin: For me, the term "Dislocation" speaks about a fracture between identity and place, about the feeling of not fully belonging either to the space you occupy or to the image you project of yourself. As a child, I felt a strange form of envy toward classmates who came to school with an arm or a leg in a cast. I was fascinated by the fact that this foreign, temporary object became a surface for the traces of others — names, signatures, messages — and that it seemed to acquire a form of permanence.
I think this fascination is also present in my artistic practice. There is a tension between the transient nature of experiences and the desire to fix them, to preserve them. I am interested in objects removed from their usual function, objects that become witnesses to a transformation or a rupture. The cast is a relevant example: we do not keep it as a trophy, yet it marks a moment of vulnerability, and the fracture remains inscribed in memory even after the object disappears.
In the photographs in the exhibition, this idea of dislocation translates through fragmented presences, traces, objects, and situations that seem detached from their original context. I am interested in the way a rupture, an absence, or a displacement can become visible and can perhaps leave behind a form of material memory.
