divisable

The Colour of Everything Left Behind by Justin Harrison


Not sure how much I want to say about this…I could leave it. Just post the image and the title.

Maybe its a piece to show.

But for the sake of my blog, process and the need to document I’ll write.

Disposed of ‘used thinner’ from multiple oil painters, collected and distilled over a period of time. Left to stand, gradually the paint settles as sediment and the thinner can be poured off and reused. Divisable. The sediment normally disposed of. However I realised as I recycled the thinner that there was a uniform colour created each time. The colour of everything left behind.

I collected the sediment in a specimen jar - it seemed appropriate somehow. Something evidential. Something clinical. Dispassionate. Removed.

I wonder if I should use it, make a drawing or print, but for now it doesn’t feel right. I just want to keep the jar. Distilled.

Everything is divisible. (Almost)

Addendum: I’ve come back and posted the image 3 times as I attempted to colour correct the image to get it as faithful as possible, but I’m working with an I-phone 11 and an old Sony 3/4 SLR and a laptop, which doesn’t bode well fo colour correction. George if you read this I know how off things are, please don’t judge me!


 

Encombre 3 by Justin Harrison

 

It’s the orange glove, otherwise I might have skipped the scene, as just repeating previous work. But there’s this disembodied skin again - cast against the fragments stone and grit, lying prone, limp and deflated. It had purpose, briefly, visceral and present, now it’s passing through. The black plastic is encroaching, soon to suffocate everything that has been rendered.

Passage and place. Briefly.

Now limp like a dead game bird from a flemish painting.


 

Notes from Presentation by Justin Harrison

 

Having already given the presentation on ‘Jacques Derrida’ By Nicolas Royle. This is more an ‘aid de memoire’ to remind me of the points I spoke about in the hope that I’ll remember.

Book: Jacques Derrida By Nicolas Royle

Why oh why did I choose Derrida?

Derrida is a French linguist, writer and literary Critical Analysts, philosopher and political commentator and much more.
Written many books especially on textual analysis.
He’s notoriously dense and complex.
Just when I think I have understood I realise I don’t.

Maddening is a phrase I’ve read somewhere...

Famous for:
Deconstruction 
Literary analysis
Semiotics
Grammar the difference
Political


I’ve come back to this book as I find Royle’s writing more accessible. He articulates well the unique challenges that come with Derrida’s thinking and writing.

Specifically I’ve been thinking/looking at deconstruction. 

What it is not and ways to approaching what it could be.

But even that is optimistic as Derrida’s thinking and writing resists simple or reductionalist summisations of ‘This is this and means this’. Royle explores this not offering neat answers. In the chapter it even states how Derrida dislikes even the word deconstruction, and that he feels that it’s wrong to use it as a ‘ism’ or practice.

Rather Royle gives a useful if fragmented overview, he describes how Derrida likes to explore at a phorensic level. He explains how Derrida evades, is elusive in what is meant for him, by deconstruction.

Royle demonstrates examples of what Deconstructuon is not - throughout most of the book we are shown what Derrida is not, but not told what it and he is. Rather we are shown where he/it might be at work. Where a ‘trace’ or a ‘Ghost’ might be, and it’s this approach that leaves space to work in.

It’s not an answer it’s a deep approach. A constant undoing of ones own beliefs

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I keep returning to Derrida, to this book. A starter. A basic introduction. (Sigh)

Although I am currently liking this uncomfortable wrestling. I have been looking for answers and Derrida won’t give them. Only a way of approaching. And I think that's the thing with Derrida, the moment you look for a neat of final answer - things vaporise - it doesn't work.

Royle frequently in this chapter talks of the unravelling that seems to happen often.

And then for me the language of my work is very important, from the thinking to the language of the symbols and materials. Unravelling of my materials, my practice, my thinking.

Specifically in my practice

Royles chapter has given me specifically some very engaging thoughts that I am exploring as I make.

“Every thing is Divisable” - this phrase alone has me.

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I am interested in belief, it’s nature and how it manifests. 

In the liminal, the threshold, transforming spaces.

And something of Derrida's work touches on these thin and elusive environments.

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The more I read, the more I realised I didn’t understand, now I suspect that’s the point.

Royles description of Derrida and his practice in this chapter leads us to a constant questioning of our thinking, our beliefs. And this could be a kind of Deconstruction>>>

>>>A constant examining, undoing and again examining of ones own beliefs. Including my beliefs about beliefs.

 

Pulling threads - everything is divisible by Justin Harrison


Not deconstructing just dismantling.

Derrida says everything is divisible, so I divided the canvas into threads warp and weft. It could continue reducing to finer fibres, then to chemical compounds///atomic structure///neutrons and protons///up quarks and down quarks and gluons///

I liked the stages of undoing. An abandon to the process and loss of form and purpose, yet still remaining with some memory of self. I could paint 4 canvases and dismantle 1. As a set. All equal in the sum of their ‘constituent parts’. The Horizontal and Vertical. Undoing.

(I also felt ridiculous doing it, like I was performing being an artist, really an imposter. Trying so hard to be conceptual - I’m not convinced - It feels smug and empty at the same time.)

Taking photos as the canvas eroded and reverted to threads. A partial dismantling  - the first division.


I’m not sure I understand deconstruction or Derrida anymore.  I read him and think I grasp it then when I got back I have no idea how I thought what I did. 

Read Anthony Gormley today - I love his drawing and felt encouraged by how he’s free to draw and let the connection to his more involved sculpture work itself out. The are ties between the two practices but not always immediate or linear. 

Reading/// Derrida’s ‘Letter to a Japanese friend’. /—— again

Researching/// Matthew Barney. I love the vast expanse of his narratives, along with the interconnected themes that relate and reference. His work had such a strong relationship to materials, although I know a lot of his work is made for him, which I would find hard - not to get my hands dirty but have someone else make my work..

Things I want to make:

Stick bundle
Bundle drawings
Immerse installation
Etched copper tubes 
Stick feathers -wood and plaster
Bundle and wall set
Small natural linen drawings 
Axe for an angel - etch on axe cheek.
Immerse diagram drawings
Portraits
Large wing drawing representational to abstract.
Plaster sculpture abstract for. With inserts.
Large gestural drawings