In the studio

'Make more' - pages from my sketchbook by Justin Harrison


I made more. I don’t quiet understand the direct nature of the vertical forms, but intuitively I do. They have agency but not body. They exist yet remain unavailable. As I draw I’m looking for a specific composition and feel, but I don’t know till I see it. The blackness around them feels important and adds to a generative feel for me.

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‘From nothing comes something’

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The collaging is self-indulgent, there is just something delicious about the waxed paper, and the way it takes a crease. I wonder if I am trying to sculpt when I collage and layer, previously I have made collographs and the same thought occurs then.

Is there a place of drawing and making occupy the same piece/space?
What does it look like?
How can I capitalise on it? Or am I trying to combine two things that are genuinely separate entities?

I also notice that number 7 is my favourite right now and that I have departed from the clear vertical columns. Will they translate up larger? Somehow I want more craft and beauty, more draughtsmanship. It feels ok to play with abstract in my sketchbook but I want the dialogue to remain accessible in some form. Or does it?

Am I doing too much on behalf of the audience? Should I trust them to interpret? To paraphase Roland Barthes -’ the audience becomes the author’


 

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.


 

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!


 

The woods by Justin Harrison


I’m back out with the trees. What is it with this location? I don’t feel like my work resides here - but there is an sense of place of peace of belonging.

I hunt around and find what I was hoping for, a fallen Holly limb. It’s been cut but that wasn’t me, my impact matters and I won’t cut down live trees. 

In cutting wood for the bow piece I realise it’s not going to work. The thickness I want won’t bend, I’m going  against the nature of the wood. Even if I try and steam it I don’t think it will yield.

I like the piece quiet a lot and don’t want to abandon it but I may need to realise it in a different way.


Personal Notes: Cutting wood is research. Practice based research. Movies are research. Reading is research. Discussions are research. Whereever I make enquiries is research. My intent and focus.


To Draw/Make

Paddle - the journeyman 

Collograph - multiples of Horse as prep for large format drawings

Bundle

Backpacks

More leather casing/strapping


 

Things rarely are how we think they are. by Justin Harrison

Image my own


I’m in the studio again. I go straight to the piece I’m working on Jericho , keen to finish it in time for the show and just to see it made. I start sanding it again. I have more vision and understanding for it. The burning is scorching, the effect we feel in transition to permanent change.

I wanted to French polish the sanded part have it really refined travelling through up to the raw state. ( I still feel an affection for the work).

I also check on the other leather piece - couple of planning mistakes but no mind - I’m trying to push out more in theses limited time sessions. Embrace the rhythms. I plan to leave the original nature of the wood intact - it’s history still present and hard to deny, but effect a transformation, the passage marked upon and into it’s skin.

There is a journey as you travel up the piece - moving up the wood following the grain, beginning with a finished and polished section, the knots and grain brought out and embellished, the honey of the wood drawn forward, sanded and polished. Then it transitions into blackening, the wood scorched and velvet like becoming a dense black. Finally the black transitions out into the raw original state of the wood when it was a fence panel.

I’m gratful I have a spare pice of fence panel ‘pre burnt’ and sanded to test stuff upon, as I like the work I get more precious about it which can be annoying a slows my making down. This was supposed to be an hours work but has swiftly turned into more. But then the more is good ideas are evolving and gestating. I apply some yathch varnish - longing for French polish. Maybe the second and third layers…

The power has just gone pout in my studio - I’m only in here for a precious 2 hours and now I can’t see. I set up the laptop and use what light is available - I also move out to the hall where there is emergency LED lighting and carry on as best I can.

Almost there what’s left Is to stitch and oil the leather. I wondered about inserting more layers into the piece but I’m trying to keep within my original restraints of a quick sculpture - I edit and have decided to leave it as it is and see how the piece feels once finished. I can always make more and evolve from it - if I like it enough.


 

In the studio 2nd day by Justin Harrison


I now have two leather pieces I’m working on at the same time, Jericho and ‘Unammed’ . I spend a fair amount of time making the forming blocks for unnamed, I know it’s worth the effort now to avoid permanent flaws later. Dents and creases in the leather annoy me and detract. Natural scars are great but I want the leather to be exquisite and the other materials next to it are raw, crude and basic.

The natural leather takes on these beautiful honeyed sepia tones when it’s undyed. The trick is to find it in the leather with just oils and waxes.

I end up with a crazy clamp system as I decide I want the leather as even as possible.

With Jericho I measure up and then insert plastic to protect the opposite side for the cut I’m about to make. The cut is important so I sharpen the knife first. Want the join to be as close to seamless as possible. It’s becoming the language of the work. a contrast between refined and crude….The cut is good and cutting the two over each other works well for a flush fit.

There’s an ideal plasticity to wet leather which I feel I’ve just missed, but it’s unavoidable as I can’t be in the studio everyday. Using neats foot oil once it’s properly dry should help smooth things out.

Moving on to the wood I realised it needed to do more, scorching it seems like a natural response. I did some tests and sealed it with danish oil. I need the leather to contrast and not get grubby and it seems like the danish oil does the trick. I like the idea of caring for the fencing panels lthe same way I would a high end wood like oak or mahogany.

I frequently refer back to my drawings for reference position and placement of details.

I want to sand it back, scorch it but also leave the honest state that it exists in now. It seems odd but as I san the wood I have a care for it almost an affection, I wonder if it’s the soul qualities it has..

I scorch the final pieces and pray a little a I do so. I’m meshing intent into the piece, welcoming the Spirit.

I take the wood inside to sand and oil as I do so I feel a sense of excitement rise., the work is taking on character - a key thing that happens when a piecemeal like it’s working out.


 

In the studio by Justin Harrison


Im stood in the studio drinking a dirty can of Dr Pepper and trying to figure what I AM GONNA DO. I have about 4-5 different things pulling for my attention and I’m really not sure what the priorities are. Maybe the thing that looks the coolest and will impress people....

I had every intention of pressing on with ‘Jericho’ a sculptural piece - but one thing has led to another and now I'm thinking about coracles.

Oh and there's also tattooed paddles and winnowing fan, and blah...+++

I do need to focus but also want to let all the ideas fall out of my head. It was ok before I started the MA life was simpler- I blame Jonathan K it’s his fault.

Also there's the Study statement and curated blog hovering menacingly behind my head.

Then I think about Passage and Place and consecrated spaces. Can a body or area of water be consecrated? +++

Oh and etching copper pipes - Id forgotten that needed investigating - along with ink drawings and encaustic wax. The list grows

Jericho ok Im focussing now. Why Jericho - a stronghold? I stop questioning and just make to see what happens>>>

There a lot of stuff on my desk - it’s supposed to inspire - today it's just irritating.


 

Passing Through - Collograph Print by Justin Harrison

‘Passing Through’ Collograph print on paper. (Image my own)


I needed to find a school/studio safe process to seal the collograph plate. This was a test of the new sealing process.

I kinda like it.

He’s got something going for him and he’s going places, even if he is dead.

Another fast piece, made in under an hour. Although not one sitting - more like 10mins, 30 mins, 20mins. I wasn’t timing but you get the idea.

Again there is a pleasure for. me with drawing and by extension printmaking, specifically collograph. I get to draw three times. Once when I first draw the image, second when I cut the plate and third when I wipe the plate.

There is something deeply satisfying about drawing for me, it’s visceral, and somehow beyond my words. I long to make a drawing so honest and from so deep within that it it falls off the page.

Again I’m connecting to my materials trying to find a tone of voice to them, also not thinking too much.

Rhythmns.

I also wondered about encaustic wax, I stumbled across it today reading a web page about it. There’s a quality to it that I suspect could be really delicious. I’ve set drawings in wax before by just dipping but this is a more intentional process, proving layers and tones. In addition it gives me another material - another dialect. I’m concerencd that I’m adding yet another process to learn and adding more time whichh I really don’t have right now…

Tick tock….


 

Jericho by Justin Harrison


Not too shabby I took of the clamps off the experiment from last Thursday - ‘disrupt the average’. I decide that I do like it after all.

I think about putting it in the interim show and my internal maker starts hyperventilating and wants me to spend hours on it. ‘People are gonna see it and think I am a moron’.

I fuss with it a little bit and realise that actually I am gonna need to re-wet form the leather, its a minor technical thing but how I’ve cut the leather means I’m not gonna be able to stitch it well or at all. Not being super picky just need to make it work, AND I start to think that this is part of the work, I want the leather to be exquisite because I’m using such crappy wood, this is the premise for the dialogue between the materials - allowing them to speak. Value systems. Also the wood has value because of it’s source. An invisible quality to the material.

As I’m fussing the art work tells me that its called ‘Jericho’ - I don’t understand this but know better than to push to deep at this stage - I may be informed later - if the work feels like it,///

Hopefully I can finish this off fairly quickly - I want to play more with the faster and slower rhythms of making.The idea was impromptu andI guess this will just have to be.

Also there are other questions to ask about what other processes or materials could come into play. Do I burn the wood or add copper? Or perhaps these are second and third piece and this one should just be. Plus I really son’t have long…

This piece is also leading to some other ideas about abstract/representational work, and a narrative about travellers and what they pack…


 

Disrupted averages by Justin Harrison

Image: My own


Disrupted averages (Concept - Jonathan Kearney)

In the studio I have an hour or so.

Not long///

I have left items out on the desk from my last visit. I do it to provoke myself. It’s irritating and funny at the same time. Pieces of textured leather  - favourite tools. It all makes me want to make things immediately - the materials speak, not a language I entirely understand but it is language none the less.

I hang some large watercolour paper I have plans for - been day dreaming about making huge black ink drawings. Bold and sensitive, ink dispersing to granular clouds of vapour.

My phone is a pain in the arse and kepis turning off ###

Disrupt your averages/// 

I tried to make something in a hurry tonight. 

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I decide I have to make something in the next hour, using what I have collected or hoarded around me. This means working fast, the opposite of what I normally do, usually I take long, considering, measuring, crafting experimenting. This has to go out the window.

So I begin, I keep it simple. I take two pieces of wood  cut the other day. I had plans for them, but I can always cut more. (I have a generous supply of old fence panel wood stashed in the corner). Playing with the two pieces in different arrangements I decide I want to join them somehow, I consider plaster but know this will take too long, instead I cut a small piece of leather with the intention to make a cuff to join them.

I’m already breaking my own rules by not sharpening my head knife first - it should cut in one or two passes - it takes too many and leaves slight double edge. I cringe internally and move on.

Then get annoyed an go back and clean it up, but quickly. Next I soak the leather to wet form it. I run it under a tap - ideally I’d leave it in a clean bowl of warm water and watch the bubbles ecstatically escape the back of the leather but again this all takes time. The skin takes long to relax under the cold water. Like me it's cold.

As I fold the leather around the wood and clamp it - I realise that it’s too small compositionally, intuitively I want a larger cuff - to have more presence. I should have seen this before I started.

Then I have a some realisations as the hour comes to a close///

  1. I’m no way gonna finish in time.

  2. I failed and that’s fine.

  3. I will need to cut more leather and reform it and wait for it to dry.

    Thats annoying ### It’s annoying as its wasteful, and is gonna cost me time and finance. Then it occurs to me that this is an issue for me. Like a big issue. I don’t like to waste anything, because I can’t afford to. I realise that historically I have always worked very carefully and methodically and meticulously. I thought it was because I liked well made work. (I do - but that’s not the point) It’s mostly because I’m afraid to make mistakes. I’ve learnt to work this way to not spend money or make errors.

I think about the maxim - the rich stay rich while the poor get poorer. (This week it was announced that the worlds 10 richest men have doubled their wealth over the past two years whilst more people have fallen into poverty).

I wonder if rich culture increases and advances, because it can innovate far quicker, it doesn’t need to conserve its resources. It can afford to waste a few prototypes, raw materials, money and make mistakes. Where as poorer cultures work must work carefully and methodically with the precious few commodities or compromise instead, still creative and innovative, but advancing at a slower speed.

I also realise:

  1. All the work I've done is really useful and informative and it's ok to experiment and waste a little bit of leather. No time has been wasted but well spent exploring. It's informative.

So. interesting. I disrupted my average tonight and I saw something in myself, my practice and perhaps my culture.

IMAGES+++

My own


 

Pulling Threads together by Justin Harrison


Different elements of drawings and thoughts. This is the least considered post which may be a good thing///

Horizontal and Vertical. 

Aggregate and liminal. 1 + 1 =3

Made and unmade

Undoing

Sunday was a day of attempting to consolidate some of the drawings I’ve been making.Somethimes I need to just quickly visualise some of my thoughts, even if it’s to dismiss them. I’ve been given some new ‘super black’ paint which I kinda like, it sits on the page so matt, but also fragments well into particals.

‘Immerse’ (forest project with Jon) hangs in the air frustrating me with its lack of flow. I want more but am unsure what it is/// I need to write more - more lyrical stuff. Somethings the words carry more of the idea.

I like my work best when there's a strong element of craft to it. Something Jon mentioned too>>> Drawn or made.

Drawings - direction maybe doesn't matter dead horses? Can I visit a slaughter house? Or animal crematory?

To do: Ink wash drawing of Revenant - Glass climbing inside horse 🐴 

Current artists of interest: Barney, De Brukyer, Boyce, Theaster Gates. Really need to widen my exploration. Must find more artists.

Are there films I should be researching into more? Taking stills and making drawings, looking for the threads of transforming places/moments?
Return to Joker? Saving private Ryan? Revenant? Other?

“making a destabilising passage through them”
Collins Jeff, Introducing Derrida P90


 

Make lots of things by Justin Harrison


I can not justify this piece, except that I love crafting and making, direct from my hands, this includes drawing especially too. Oh and for some reason I particularly like the colour of the plastercine today. Portraits feel so ‘art self- indulgent, arrogant and over confident of thier place in art history and practice. It makes it hard for me to make - except that I get some sort of satisfaction at summoning forth the work. Finding moments of detail described in a simple gesture or mark that Describes much more.

I struggle as it doesn’t feel very ‘Fine Art’ or very ‘CSM’. But then what has value. What does it mean for me to abandon approval. What could I make?

I’m still rolling over my friends words, how there is a quality and uniqueness to the things I make. The presence of the artist in the work. Even in a photograph or ready made, when work is really successful I feel as though the presence of the artist can still be discerned, felt.  

Still looking for the more in my work, something…a hand full of pigment cast like dust on the floor. A sentence that unravels the moment. An image that summons an aching. The more. Work that transcends the ordinary of everyday.


 

Hatters Wood by Justin Harrison


It took me a while to settle in the space - I needed to walk and talk.

Began collecting wood soon found I wanted bigger sticks. Size and scale is important. The scale matters - a lot. The central pole must be long 10 foot. it affects the presence of the work. The materials need to speak as much as I do.

I noticed a simple split in the wood as I worked it, striping it of it’s bark. Beautiful in its stark simplicity. It’s presence unashamed.

There was a suggestion to place the work against grass but no, it really feels wrong - it becomes a formal sculpture where as in the wood it’s some thing else - an intervention? No something more sympathetic and synchronistic.

This work is a collaboration with an artist and musician and friend. I am leading the sculptural part of the work in response to music written and performed by Jon.

I am making drawings and sculptures influenced by Jon’s music - somewhere in the work I trust will be a coalescence.

Working together was new and a little unsettling.

However it soon became something more comfortable. The ensuing dialogue is becoming more and more interesting although I still resist a little.

This work was test - how would the basic elements work in the space. But was by no means a finished piece more a physical sketch.

Seeing the poles felt good- creating the space. Intervening in the space -although it also felt very incomplete even if the other elements I’ve thought of and drawn were to be included; fire, copper, bone wre there - it would still be too simplistic.

Moving the leaves helped too, clearing the ground. But I do want something of me not just something modified but made. The core of the work, the substance of the piece. A point of focus.

Theres a lot for me to say having made this test piece:

More is needed - it feels interesting but very incomplete.
What’s missing?
What is needed?
The Copper - did it work?
Scale?
The core idea of the work.
Liminal themes
What am I saying…///

Jon’s Comments>>>

I like it. Something about it is transcendent.

Wow factor 

Element needs added- that’s only me.

Something from the earth

Something of reverence

Needs something to push it.


 

Studio by Justin Harrison


Working in the studio. I've been drawing these articles for some time and it was good to have my hands on physical materials, to work towards making. I feel like I'm getting stuff done when I hold a section of metal or batton of wood.

There were various plans I had and I knew I wouldn't get everything done, but I was glad have charred some wood and dipped it in plaster. That's not it - the work. Just a test of the materials to see how they behave and look together.

I had a bunch of questions in my head - trying to see where the work can go. Essentially it should work. I want to build up the layers of plaster enough to carve back into forms, polish and refine. I realise that I need to use scrim if I am to escape the form of the baton, although this could present problems later on when carving back if the scrim is exposed.

For some reason I have chosen the shittiest wood, old fencing panels. Sometimes it disintegrates as I cut it. But there is a charm to it too. It's honest and lacks pretence. If I were to use new wood somehow the dialect changes. The other thing I note is the wood came from an art director who I worked for back in the day, she's passed on now and there is an element of memento mori and honouring to using this wood. It smells too - the creosot gives off a tar like scent that isn't unpleasant, but some how a little unsettling. The associations and the scent jar almost - stood amidst it all I find the moment odd.

The plaster makes a heat of its own as I mix it in the cold studio. It's always a fight, waiting for the right moment the only lasts a minute or so. I dip the wood and then immediately figure out a way better way to do this. Next time I can production this a little better if I set it all up and have the battons suspended.

I'm not entirely sure the plaster is white, it seems to have a cast to it. Will need to research it there are better brands to use. Was good to be making.


 

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 


 

Imagined Bundle by Justin Harrison


There was a pleasure in the process of making the drawing, a simplicity to the rules, regularity and consistency that pleased some deeper part of my brain. I’ve returned to the drawing and still like it which is a good sign and want to make more - I feel like has something more to say. The drawings stand as preparation for more sculpture, a way of understanding and creating.

It also falls into the enquiries I’m currently connecting with ‘constituent parts’ and ‘everything is divisible’. Real and imagined. A physical wrangling with the ideas I’m wrestling with.

I’d like to go larger more obsessive in the repetition.


 

Currently Reading///Researching by Justin Harrison


Collections

Sculpture as constituent parts///

Language and it's relationship to compositional elements of sculpture or artmaking

Deconstruction in language and the physical.

Derrida it appears has a dislike of the term Deconstruction and the resistance to it becoming an 'ism'

‘Deconstructualism is a word used by idiots.’(McQuillan 2000, 41)

Everything is divisible rather than deconstructible.

How is this reflected if at all by atomic structure and constituent parts?

Letter to a Japanese Friend"///Jacques Derrida///10 July 1983

Derrida and Differance, ed. Wood & Bernasconi, Warwick: Parousia Press 1985, p. 1-5

An insight into the problematic nature of using 'deconstruction'

Jacques Derrida /// Nicholas Royle///Routledge 2003

Not sure the below statement is true... but I like the idea of interrogation. Scrutinisng our understanding of Law and Justice. Isn't this what Jesus did?

For him it was both ‘foreseeable and desirable that studies of deconstructive style should culminate in the problematic of law and justice.’2 Deconstruction is therefore a means of interrogating the relationship between the two.

https://criticallegalthinking.com/2016/05/27/jacques-derrida-deconstruction/

Interrogating Law and Justice - But who's law and justice?

Thread to Physics ____

Thread to Language____

Thread to Sculpture____

Thread to Spirituality____

Further reading required?: 

Derrida Difference

Deconstruction

Law and Justice







 

Trashed by Justin Harrison


I feel like my mind has the landscape of an angry 3yr olds bedroom. everything is everywhere and nothing resides in its proper place. It's all out and on the floor. I'm filling pages of my sketchbook with odd disjointed ideas, some manifestations from years ago, some from just now.

I've gone down rabbit hole with Derrida and doubt I'll ever return from that one with any useful information other than he makes your nose bleed if you read too much.

Continuing to build up a glossary of random words I like:

Passage///

Diagram///

Constituent///

Honouring///

Threshold///

Threshing Floor///

Refine///

Filter///


 

Key wOrds/// by Justin Harrison


Key words from drawing and researching today, in no specific order///

Burnt sugar

Bundle

Wad

Banding

Strap

Steps (descend ascend)

Return>>>

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I feel like making large format drawings in oil. Large greasy drawings, I desire to see thick black and sepia marks commanding the paper.

Portraiture

I still really enjoy making drawings. I feel guilty as though I am old fashioned stuck in craft, but I find making marks, making certain drawings so satisfying. The feel it has, the presence it carries. I worry as it feels as though there is no concept, idea or thought in the work. Just self indulgence and showing off. That there isn’t really a place for it in contemporary art. Is representational art over.

What is the purpose of portraiture today? Where does the thinking and conceptual value lie? Observation? Deep observation of an individual.


 

Bundles by Justin Harrison


Note: The blog doesn’t have to be journalistically written. It’s too self conscious, lacks honesty as it’s more performative. It can be notes, lists, images. A subconscious free flow is perhaps better. I have also included a bad photo and resisted the temptation to edit too much.

Bundles today I like bundling objects - multiples. I want bundles of all sorts of things.

Plaster dipped burnt wood. Pelican feathers. Sculpt a pelican in hard plaster?

It was good to get my hands on materials - finally collecting some copper and wicks. The materials tease me. Just their presence goads next to create, something anything.

I’m conscious that I want this blog to be written in a much more analytical and academic fashion, with pithy insight and formal art history references. But I will leave it at… today I like bundles and materials.

Re Image/// The place of drawing. I love these organic and diagramming drawings. They feel like they have such a strong place in art/ artists process.

Image from: Theaster Gates P112