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Hyperallergic’s 358th A View From the Easel installment features Flor Khan, a Bronx-based artist describing her studio practice and workspace at Kreate Hub. Khan discusses using photography, alternative processes, fabric and stitching to revisit family memories and rework historical images of Indo-Caribbean women. The feature is a studio profile, not an announcement of a new exhibition.
Hyperallergic has featured Bronx artist Flor Khan in the 358th installment of its A View From the Easel series, a recurring feature in which artists discuss their workspaces. Khan describes a practice centered on photography, alternative image-making and family memory, including revisiting images of relatives and reworking historical depictions of Indo-Caribbean women.
Khan says she has worked in her current studio at Kreate Hub in the Bronx since March, after working in other artists’ studios and her apartment. Her workday typically begins around 4 p.m., after her day job. She often has several pieces underway at once: photographs developing at a processing station, fabric drying on a line and other material steeping in tannins.
Her process combines photographic work with fabric, sewing and image transfer. Khan says she uses family photographs, including albums belonging to her late father, as well as Victorian-era postcards featuring Indo-Caribbean women she describes as her aunties. Before working, she lights a candle for her ancestors and asks permission to bring their memories back to life. These details are her account of her own practice and ritual.
Khan also describes the studio as part of a wider artistic community. She says artists and small businesses in the building work in areas such as makeup design, costume and film production, and that her studio partner is a muralist and painter. At the time of the interview, the pair expected to host a cyanotype and painting workshop focused on New York City landscapes in the following weeks. The source does not provide a date or further event details.
Reworking Images of Family and History
Khan’s account shows how a studio profile can explain the choices behind an artist’s materials and imagery, not just describe a place to work. She says photography lets her revisit relatives who have died and reinterpret images by adding elements such as cartography, sewn news images and repairs. Her work connects personal remembrance with questions about who made historical images and how their subjects were represented.
Khan describes her approach to nineteenth-century postcards as an effort to challenge the colonial gaze and restore context and agency to women she says were eroticized and staged against backdrops removed from their lived realities. That is Khan’s stated interpretation of the images and her artistic aim; the profile does not independently analyze the postcards or present a broader historical assessment.
The interview also draws attention to practical conditions that shape art-making. Khan says she would like more room for tannin work and running water near her workspace, while noting that her water basin and the slop sink are down the hall. Those constraints sit alongside the quiet and uninterrupted time she values in the studio.
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Inside Hyperallergic’s Easel Series
A View From the Easel is a Hyperallergic series about artists’ workspaces. The source labels Khan’s feature installment 358 and invites artists working in any medium or type of space, including home studios, to submit material. The feature is presented through a set of questions about work routines, the effect of a studio, its local environment, preferred materials and nearby museums.
Khan’s answers situate her practice in the Bronx, at Kreate Hub, and connect her workspace to nearby cultural institutions. She names El Museo del Barrio as a favorite, citing its focus on Latin American and Caribbean culture and history. She also describes an exhibition, Sophie Rivera: Double Exposures, as meaningful to her, especially Rivera’s gelatin prints of children photographed in 1980s New York. Khan says she felt seen as a Xicana-Latina in Rivera’s work.
The source does not establish when the interview was conducted or when the workshop Khan mentioned was due to take place. Its references to March and the “next coming weeks” are relative to the interview, not a dated current schedule.
“Here, I am allowed to play, to not know the answers, to let the message evolve on its own timing.”
— Flor Khan, in Hyperallergic’s A View From the Easel
fabric sewing kit with needles and thread
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Workshop Dates and Studio Details
The source does not give a publication date for the interview, so its timing cannot be pinned down from the supplied material. Khan’s reference to a cyanotype-painting workshop in the coming weeks is relative to the interview; whether it took place, and its date or public availability, are not stated.
The profile records Khan’s descriptions of her artwork and working conditions but does not identify specific works currently on view, a forthcoming exhibition, or a collection of images accompanying the interview. It also does not supply technical details about the photographic chemicals she uses. No independent verification or additional comment from Kreate Hub is included in the source material.
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The Workshop Mentioned by Khan
The next development identified in the interview is the cyanotype-painting workshop Khan and her studio partner said they planned to host on New York City landscapes. The source provides no firm date, registration information or confirmation that the event went ahead, so readers would need to check with the artists or Kreate Hub for current details.
Beyond that workshop, the supplied feature does not announce a later exhibition or other milestone for Khan. The report’s immediate purpose is to document her workspace, process and artistic perspective as part of Hyperallergic’s ongoing series.
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Key Questions
What is A View From the Easel?
It is a Hyperallergic series in which artists reflect on their workspaces. Khan appears in installment 358, according to the source.
Where does Flor Khan work?
Khan says her current studio is at Kreate Hub in the Bronx, where she has worked since March relative to the interview. The source does not give the interview date.
What materials and methods does Khan use?
She describes working with photography and alternative photographic processes, alongside fabric, tannins, sewing and photo transfers. Her work draws on family photographs and historical postcards.
Did Khan announce a public workshop?
In the interview, Khan said she and her studio partner planned a cyanotype-painting workshop about New York City landscapes in the following weeks. No date or confirmation that it took place is provided in the source.
What does Khan say she wants to change about the studio?
She says more space for tannin work and running water near her workspace would help. Her water basin and the slop sink are currently down the hall, according to her account.
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