Liminal

Show Planning by Justin Harrison


I’ve been wondering about this for a while. Let it sit in the back of my mind. Sometimes I find it’s better to let things percolate. I’m thinking about how and what I show, part of me is tempted to make new work…but I also know the dangers with that. It’s hard I always want to be progressing and for that to happen I want to make new work, use the lessons learnt from what I have just made. But its also time consuming, and perhaps more importantly I need to pull on what has happened over the past two years on the course.

A key lesson learnt is the value of me liberating my making, stopping myself from overthinking and working which ultimately leads to me editing all ideas and not making so much. In working quick and dirty I’ve found that my ideas are able to make more connections and resonances, the practice based research goes deeper.

So in many senses it seems appropriate to show all the experiments rather than a polished final artwork. Although this is hard too as I imagine the weight of expectations of others. But then I think making the installation similar to what the drawing is in keeping with my research paper too. A nod to Ursual von Rydingsvard curation.

Hung from hopefully a unistrut using cables suspending the work feels more sympathetic that securing to a wall, but at a push that could work to, it feels kinda big maybe 3.5m - 4m square, but that’s kinda greedy.

But more than that an exploration of the liminal, I do wonder weather objects are allowed, making something physical seems almost contradictory. But I return to the phrases ‘Ritualised objects of the liminal’ and ‘Poetic discovery of the hidden’.

I do have a new piece that might also translate better, in interpreting the Liminal and my investigations, but I need to make it and it’s location bound so I don’t really know how it would show in the gallery context…and I need to make it yet. It could suck.

I want to meditate more on the past two years and reread my paper, so older blog posts, there’s so much that I have already forgotten.


 

Process Post. by Justin Harrison


Nothing too deep or revelatory. More me just making sure I’m writing about my process.

Yet something feels right about this, somethings I make and am unsure, but this I’m ok with.

Materials lead me again and there is something provocative and pleasing about the natural canvas.

I’m making a large icing bag basically, but for clay. I’m making my own tools to work with and that to is satisfying. I’m tempted to get ealborate, but I should have learnt from previous lessons that it will slow me down, but it’s hard - I want to make pretty!

The plan is to locate naturally occurring clay and use it as a medium to draw with, although I am now having to research and figure where I might find it. This could involve a number of exploratory walks and scrambling but then I like that kinda thing.

I feel drawn to the process of engaging with the land, gently moving an element and decontextualising it into a medium and meaning - a form of translation.

This too I’ve been looking at ‘Translation’ what does it really mean to translate language and other things? What and how does it happen? It’s connected to the Liminal.

Also please note it took me a ridiculously long time to figure the pattern out, when it shouldn’t.


 

Liminal Landscapes by Justin Harrison


Bodies without flesh or bone 

Partially present

Dead Quiet in their slow overwhelming absence

Insubstantial

Far off the light might be fading

Or resisting

The map has bled into the earth

The colours and key, now clay

Navigation a vapour

A whisp

That briefly curls in the air

We stand on the shore 

thresholds

We are Unable to cross

Boundaries

We are unable to comprehend

The mist

A veil 

The land

Sleeps

I

Wander


 

Khôra and the Impossible by Justin Harrison

Khôra - Ink and acrylic on paper


“Sans savoir, sans avoir, sans voir.”
Caputo J : Prayers and Tears of Jacques Derrida, Introduction p20

“Without knowing, without having, without seeing”

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Vertical forms suspended in space

A host.

Khôra - the liminal - the place of transformation 

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Khôra (also chora; Ancient Greek: χώρα) was the territory of the Ancient Greek polis outside the city proper. The term has been used in philosophy by Plato to designate a receptacle (as a "third kind" [triton genos]; Timaeus 48e4), a space, a material substratum, or an interval. In Plato's account, khôrais described as a formless interval, alike to a non-being, in between which the "Forms" were received from the intelligible realm (where they were originally held) and were "copied", shaping into the transitory forms of the sensible realm; it "gives space" and has maternal overtones (a womb, matrix)
Wikipedia https://en.wikipedia.org/wiki/Khôra

Also:

“So likewise it is right that the substance which is to be fitted to receive frequently over its whole extent the copies of all things intelligible and eternal should itself, of its own nature, be void of all the forms. Wherefore, let us not speak of her that is the Mother and Receptacle of this generated world, which is perceptible by sight and all the senses, by the name of earth or air or fire or water, or any aggregates or constituents thereof: rather, if we describe her as a Kind invisible and unshaped, all-receptive, and in some most perplexing and most baffling partaking of the intelligible, we shall describe her truly.”
— Plato, Timaeus, 51a[1]

“As we will see, Derrida easily made the "no" stick. He dispatched this accusation, or deferred this congratulation, effectively and effI ciently, persuasively arguing that whatever their "syntactical" similarities there is a deep "semantic" divide between God and différance, that "it," différance, is not the God of negative theology. (We cannot fail to notice that "God" here is not exactly Yahweh, not the God of prophets like Amos or Isaiah, a God who wants justice, but the God of Christian Neoplatonism.) However highly it is esteemed, différance is not God. Negative theology is always on the track of a "hyper essentiality," of something hyper-present, hyper-real or sur-real, so really real that we are never satisfied simply to say that it is merely real. Différance, on the other hand, is less than real, not quite real, never gets as far as being or entity or presence, which is why it is emblematized by insubstantial quasi-beings like ashes and ghosts which flutter between existence and nonexistence, or with humble khöra, say, rather than with the prestigious Platonic Sun. Differance is but a quasi-transcendental anteriority, not a supereminent, transcendent ulteriority.

Caputo J : Prayers and Tears of Jacques Derrida p2

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In a previous blog I had commented on-

So in light of the nature of Derrida's approach to deconstructions and undecidability - where in his thinking does he reference a constructive approach? What if anything isn’t left undone -  Reinscription? Somewhere I read about a part of his work that touched on this but cannot remember which book it was.

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Caputo goes on from the quote about to discuss that the direction of deconstruction ultimately points up - a passion for the impossible’ p3, whilst also contextualising difference, in a contructive/ generative way.

'"Translating" in deconstruction is nothing reductionistic, and that is because différance opens things up rather than barring the door closed.” P4

There is a place for generation rather than reduction. Reduction being the popular misnomer of Deconstruction.

Useful phrases from p2-4

“Initiating a pact with the impossible”

“Tout autre est tout autre” - every other is wholly other

Think about essence becoming real. Emerging from the Khôra. Extensia.

Do I emerge from the Khôra every day. Transformed by renewing my mind? Is the Khôra a limiting phrase? Just another addressing of the same thing? And how does this impact my research and art?

What I do like is this addressing of the’ impossible’, and a possible/impossible place of transformation across many manifestations, from major to minor. And then there is the inverted value system. Cultrally we like the dramatic the demostratable, the evidential. Yet these texts allude to the small the innocuous, being key. That maybe transformation is effected by the granular. The macro. The mustard seed.

God resides in and out of the impossible. Which is impossible.