Interview with Steven Bode, director of Film and Video Umbrella
It’s noticeable, in your piece, that the passive, hazy quality of sleepwalking shifts towards something more like a state of trance – a more active, heightened perception.

Interview with artist and curator Graham Gussin
I was thinking about your film work. The architecture featured in this is quite particular, the pier and the circular dwelling, how important or how central do you think this is to the piece?

Suki Chan's Interval II, by Robert Clark
Chan’s art touches on recurrences of ephemeral wonders. It is lyrical and evocative. It points at experiential possibilities beyond the workaday world of consumerist capitalism..

Guardian preview by Robert Clark
The pier stands on the weather-beaten interface of industry and nature, of manmade structures and the oceanic wildness.

a-n] profile by Sonya Dyer
Suki Chan’s life and practice could be described as a dictionary definition of the word ‘peripatetic.’

Axis Dialogue, Black Skin, White Space
Raimi Gbadamosi has invited two Axis artists Suki Chan and Harold Offeh...

Fascinations, Hanart TZ Gallery, Pamela Kember
Uprootedness and dislocation also comes closer to the memories of Suki Chan...

Little Rituals, exhibition cataogue, Jacqui Poncelet
A lover of narrative, she takes pleasure in momentary realities, fleeting events, dreams, shadows, flocks of birds and teeming ants...

Seeing: Out of time, CVA (Contemporary) review, MIke Dawson & Jane Griffiths
Chan has cleverly placed a subtle yet complex scenario before us, its cryptic guise allowing for endless interpretation .

Seeing: Out of time, [a-n] review, Michael Stanley
Each grain follows intricate patterns, the internal structure of abstract shapes resembling stretched torsos, migrating birds, the outlines of shifting continents.

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