Too Much by Justin Harrison

Image: My own


So here's my confession. I've been reading through some denser texts. Derrida and Daniel Dennett - Consciousness Explained. Whilst I find it interesting at moments, I also find it tedious most of the time - wading through Phenomenology, Cartesian Theatre models, and then Derrida refuting structualism, logocentric values, linguistics act... In an attempt to find a deeper understanding of beliefs and where they come from.

I started to delve deeper into theories of consciousness, neurologically and philosophically. However there is so much writing on this topic - like really a lot, not to mention 2 hr podcasts. Each time I pass through one school of belief I find another that contradicts it. Ok so I may not have read extensively but enough to know that this is not my passion.

The more honest part of this confession to my blog, is that I find myself wanting to have difficult and obtuse theory attached to my work to validate it in academic circles, to make it sound worthy of an MA. I think of the people who I want to intimidate with my dazzling intellect. Shame on me. I have previously written about honesty.

Some of my research is getting performative. And actually a little dull.

I looked back over the blog to reference some bits and found brief analysis of photos and film stills - much more interesting. So back to research of stuff that genuinely interests me, (which can still include Derrida and Neurology if it's genuinely interesting).


 

Held In Tension by Justin Harrison


Spent some time considering the construction of Iranian Dome Tents. The role that tension plays in holding and creating form and structure. Strapping and Poles, Rope and Pegs. Inside the tent there are straps that don’t just hold the frame in tension, but also hold meaning unique to each clan through the design woven into it.

I wonder if there is a link to the tension in binary definitions of writing and the potential for there to be ‘Undecidability’

It makes me want to create straps that hold a pole in constant tension. A form of restraint or connecting ‘a’ to ‘b’ - which might also link to Godel’s theorem of the included middle. How something can be a and b and not a or b at the same time. Some form of interdependent relationship of ‘a’ and ‘b’ and ‘not a or b’

Possibly leather straps and white stripped or black charred, green wood poles. These could increase in complexity to describe more complex relationships that use tension.

https://www.youtube.com/watch?v=FuzipuvXULg


 

In solution by Justin Harrison


Particle dispersion in solution.

Everything is divisible.

Every idea

Every thought

Every belief.
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Questioning how I question my questions

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More drawing from film stills. Although it doesn’t feel as successful and I’m not convinced of where this can go. I’d much prefer to work from my own film work and original source.
However it still has me thinking and examining.
I didn’t care for the drawing, but I did like the dispersion of the particles across the paper as I bled the paint. To draw with this technique is excruciating as control is minimal and the temptation to draw properly to overcome the random element is strong. But to do that would pull too far from the quality of the textures created randomly. Somewhere in-between is a drawing I like.


 

Matthew Barney by Justin Harrison


A series of ink drawings from Matthew Barnwey’s ‘River of Fundament’. I’m using the drawings to think about Matthew Barney’s work and my own. I like the deeper inspection that comes with drawing, not just visually but also cerebrally. There’s a freedom of thought that seems unique for me when I draw. A deep pleasure in finding marks that describe, especially when they look nothing like the article yet still evoke it

{{{Currently I’m reading ‘Consciousness Explained’ Looking the the nature of our consciousness how we think and perceive. It’s interesting as it explores the visual nature of our thinking which is a contradiction as our brain does not hold physical pictures but converts these things to electrical impulses - well that’s a crude reductionist version. So how is it that we can make images and drawings and they hold not just symbolic presence but deeper emotive and intuitive values too?}}}

I want to make more drawings - go larger and deeper add a little colour too. I always return to drawing in my practice >>> I’m happiest when it hovers somewhere between Abstract and gestural evocative of something familiar yet slightly beyond our recognition.///

I find him Matthew Barney hard one to decide upon. DO I like his work or not? Do I think it succeeds?Or is it all just sensuality opulence?The truth is I am seduced by the materiality of his work. As a sculpture he engages with the visceral physicality of metal, wood, vaseline >>> all kinds of materials. And he does work very closely with his conceptual enquiries taking a the threads of a principal or narrative and weaving his own. However I do have to ask the same question I ask of my own work - how is his audience and what can they take form his work.

Self indulgence is unavoidable in our work, we have to work with what moves us - yet I feel it should be with one eye on our audience, for what is there with out a viewer?

But still I can’t get enough of huge cast metal objects - demi gods of the space they occupy. The presence beyond the work an aura. Then there are the sets he makes sunken corridors of ruin, or vaults of human senses. People and objects set in a charged miasma///similar to Gregory Crudeson, Barney’s work is flooded with symbols, materials, ideas, questions and possibilities.

Hmmm I guess I do like his work then.

Currently Reading///

Consciousness Explained - Daniel C Dennett, Penguin
Why We Believe What We Believe- Andrew Newberg, Free Press
Long Walk to Freedom - Nelson Madella,Little Brown and Company


 

Belief and Intuition/// by Justin Harrison

Image: My own


I still like his notion of ‘intuition’ for dealing with the non factual or logic of our lives. As much as we deal with a hard reality; bills, trains, shopping and germs. We also need a system for dealing with the non factual spheres of our daily lives - a softer reality. That which sits beyond standard taxonomy /// Things which we cannot easily process with reason or even fit our language. That which resides beyond.

The ‘Nursery’ of our belief system. Where do our beliefs originate? I’m still trying to track a neurological model, but equally a philosophical model. That’s a lot of reading>>>

Then also there is that which is in us and that which is beyond us - outside of us. There is me, and then that which is not me and that which is me and not me at the same time.

Internal, external and mutually idependant or perhaps mutually interdependent?

In the sculpture we can engage with the space around the object as much as in. Creating a widening aura, and yet a blurring of boundaries///

///What belongs in a bundle? What must sit outside?


 

Ice Climbing by Justin Harrison


On a completely unrelated note. I am now slightly obsessed with ice climbing. Inspired by a dream I had a while ago.

Image Ref: YouTube Bradford Burns

https://www.youtube.com/watch?v=8xi8wBxnlnY


 

Imaginary Bundle 2 by Justin Harrison


Feels good to complete but feels incomplete///

I’m dubious of making the same work over and over again. Is it really valid? I know many artists will make a series of similar drawings exploring a theme, but somehow I feel uncomfortable to be making the same or similar drawing. I guess I am keen to see development and progression and if I am honest… then I don’t see any.

However there is a meditation in drawing that permits me to explore and think. Ideas are generate whilst drawing and it doesn’t seem to matter what the drawing is necessarily . I heard a curator say that ‘abstract art can get to heart of things’, and perhaps thats enough.

I’m also reading ‘Why we believe what we believe” by Andrew Newberg, I’m looking for an understanding of the construction of belief. As a neurologist he states that; Spinoza’s idea of intuition correlates with the way our brain creates a holistic image of the world.

“That intuition allows us to comprehend what the senses cannot perceive” and “we can enter into intuitive states through the act of meditation or prayer” and “These processes can enhance our lives by allowing us to circumvent the conceptual errors embedded in logic, reason or personal opinion. Intuition, creativity, and spiritual practice may all provide better means for apprehending reality and truth more accurately”

However I do also realise the inherent dangers of such a statement. Giving intuition the same gravitas as facts is really ‘buttering the eel’. (Made up metaphor). But I do like the idea of making space for intuition.


 

Saturation by Justin Harrison


How can one drawing do so much to me ? I’m sat at home feeling pretty lousy, a virus has spent the best part of this week trying to interfere in my practice based research, and THAT is unforgivable. However I want to focus on this drawing by Gerhart Richter. Understand why it speaks a previously unchartered place in me.

Every now and then I encounter a work which is far grater than he sum of it’s parts. Deceptively simple in it’s execution of ink bled across paper. This one drawing is flooded with emotive waves like a symphony. It feels as though it is the the distilled essence of a passage across hope, love and loss.

I suspect that it is no chance that Richter created this drawing and it is born from years of study and making in colour and form. I don’t care necessarily for a lot of Richter’s paintings but I see his craft.

When I look at the drawing I see sadness and beauty occupying the same space, a lament -( as discussed in this weeks MA session). I’ve always connected with the notion of the lament, the sadness in seeing the gap between what is and what could be.

It’s also important to consider as I’m using this process of bleeding ink quiet a lot in my own practice right now. Something I am a little suspicious of due to it’s popular nature, the though needs to work in sync with he aesthetics. And where am I taking it?


 

I am everything you left behind again. by Justin Harrison


Another dirty sink. Another opportunity. Although in my excitement I made a rookie mistake. I used white paper when the sink is really a mid grey. I lost out on all the delicious white. next time…
I think this game is developing some rules too.
1. I can’t interfere in the process. As in no adding or sub-tracking to what is in the sink, only what is there.
2. I can’t coerce anyone to make such an opportunity.
3. It has to remain a secret for as long as possible.

It’s strange to be a part of the art making process yet exist outside of it at the same time. Not sure what to equate it to - except perhaps Levi Strauss ‘Triste Topics’ where he finds he exerts undue influence over a South American tribe when they witness writing for the first time and it creates division.


 

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.


 

I am everything you left behind. I am everything you don't want by Justin Harrison


An ‘opportunistic print’. So not necessary my work?
’Somebody’ left a sink in a hot mess.
I just found it and pulled a print form it.
I’m gutted that I didn’t think to photograph the sink first, it would have made this.

But there you go, somedays I’m awake and the others…well.

This isn’t the first time I’ve played this game, there have been a few other occasions where I have been able to ‘capitalise’ on chance. But this episode has inspired the words or perhaps title:

‘I am everything you leave behind

‘I am everything you don’t want’

This happens sometimes - something sticks in language, I discover a pull in the words. I feel a weight behind a phrase - yet I don’t understand what it is. It’s like it’s a mystery for me to solve. Maybe in the making. Something exists beyond my frame and I have to pull it in. Land it.

This image is a landing of some kind - of the phrase.


 

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.

 

Encombrer by Justin Harrison


I walked past the scene and had to return and photograph it. There was something desperate and poetic about it for me. The ground had be broken up overturned and left naked and encumbered. Exposed and discarded.

It was though It had been dismantled in an arbitrary way. Difficult in it’s intentional disinterest.

Another road victim, but this time it’s the road.

A division of the aggregate, once homologous, now rendered to parts.
It could b rendered down further, smaller lumps then stones lacquered with bitumen, then stone chips and oil, dust and liquid///


 

'Ists' & 'Isms' by Justin Harrison


 

Following JK's lecture and MA discussion on Thursday, I've been processing some more about movements and their nature/purpose.

I fear this is ground that has already been well trodden and the paths already smooth, compacted and familiar. However I guess its good to explore for yourself and see where it can lead.

The question was regarding what era are we in now, after post modernism, or meta modernism or alter modernism. (I remember we discussed some other postulations). In addition we discussed what movements might there be in light of the digital technology that is now available to the arts?

However for all the possible angles I end up thinking of the quote "The clay does not say to the potter, what are you making?". Similarly I wonder if artists in the era of cubism, impressionism were too conscious of what movement they belonged if any, (although after modernism I sense a change in the self awareness/self consciousness of the artist and the art they made) 

It feels as though it is after the event, that a burgeoning movement becomes acknowledged and receives it's nomenclature from the exterior/more dominant culture. Even then I want to resist the 'taxonomy', it feels restrictive with a subtext of violence. The aggressive 'spatlung' splitting, a removal from the body. 

"splitting to use the term chosen by Lacan, therefore masks the subject from himself in the utterances he makes on himself and on the world. But Lacan also tells us that in discourse the subject experiences his lack of being, as he is no more than represented in discourse, just a s his desire is no more than represented there." Lemaire Anik - Jacques Lacan 1970 p73

Derrida also speaks of the violence of ecrire, that act of making an impression upon the page to write, to name to other.

It seems a naive and plaintiff cry, but is enough just to make, to research and to have value in what I do - I am highly cautious of being seduced by the zeitgeist - who all too often turns out to be shallow, usury and fleeting.

Then it all comes back to Kant's dove it's dream of being liberated from air resistance.

 

 

Chen Zhen by Justin Harrison


There is something deeply satisfying about the physicality of Chen Zhen’s sculpture and choice of materials. It seems he often chooses to leave the material unaltered but manipulated out of it’s normal context. A particular and specific use of visual language. The black rubber inner tube becomes an almost natural element, like grass or reeds, yet they are unapologetically honest in their use with no attempt to cover up or hide the history of the objects or material.

In fact the presence of the history of the object is imperative, intrinsic to the reading of the work. The language of history and past experiences is. curious one because that too is read and created especially by the viewer and their lived experience. The associations and emotions attached to an old chair or a drum can be multifarious.Yet there is still a specific tone of voice to the work. Awkward and suggestive, nostalgic and melancholic.

I like the work but I wouldn’t want to make it.

“One should learn to break out of one’s own cocoon and be courageous enough to break away from one’s self and to abandon one’s own cultural context. The Chinese proverb ‘the soul has left its shelter’ in fact symbolizes the critical state in which one’s creative capacity has reached the most active zenith.” Chen Zhen
(Quoted in Padiglione d’Arte Contemporanea 2003, p.83.)

Connected to this notion of moving beyond one’s immediate cultural environment is Chen’s term ‘Transexperience’, which he coined in 1998 while living between New York, Paris and Shanghai in order to describe what curator Hou Hanru has defined as ‘the dynamic and dialectical process that occurs when an individual is displaced between cultures, societies and languages’ (Hanru, ‘“Transexperience” in the art of Chen Zhen’, in Serpentine Gallery 2001, p.15.) According to Hanru, ‘Transexperience suggested to [Chen] both the fusion with these other influences and, simultaneously, the ability to transcend their impact’ (Hanru 2001, p.15). As a result of his combining creative techniques and influences from the divergent countries and cultures in which he resided in works such as Cocon du Vide, Chen has been described by art historians as a ‘transcultural artist’, as was explored in the exhibition Chen Zhen’s Transcultural Art in Paris Retrospective at Galerie Perrotin, Paris, in 2014. Tate website:
 https://www.tate.org.uk/art/artworks/chen-cocon-du-vide-t12941

///Temporary Homes For The Liminal\\\


 

Day 2 in the Forest/// by Justin Harrison


Stripping the wood down to the raw white wood I find there are about 4 different layers of to get through till you get to the wood.

My wife worries that I’ll be cold, I have a thermos of hot Japanese tea but I don't need it the work is hot it’s self.

I spent more time stripping wood of it's bark. Learning about the material and how it responds. It informs about the time scale if I want to work larger. It will take longer than I thought.

I also burnt the wood a little, it was green, wet and took time to colour. I'm not sure if I like it. Whether it will work how I imagined. I wanted a gradient that transitioned well but its patchy and organic. It's not how I drew or imagined.

I tested a stripped stick and a natural one against each other. Hammered them into the dark brown earth. There was something about it I liked and I wonder if it might work better on a much larger scale. There does seem to be a language to it - the contrasting vertical presences. Although I miss the craft of drawing and sculpting - this feels too simplistic somehow.

Perhaps when I add copper to it the voice will come through more.

Another thought crossed my mind. how. would the work change in voice if I were to cast sticks in porcelain? It would take black colour well if I wanted to dip or stain. Raw porcelain has that toothy bite to it which would take the black.

I'm also worried that this is taking a lot of time, all this effort for work that's not very good.

I took more sound recordings too, they still amuse. 

Oh year and the ribbons, as I shaved the bark off I made ribbons which reminded me of the blown out tire, the same forms occurred, similar violence had occurred to the object to create the form.

Stripped.


 

Breaking Down by Justin Harrison


I saw a blown out tire on the way to work. Cast to the curb. There was something poetic in its appearance. The confidence of it’s thick black tones counterpointed by the twisted ribbons and threads of it’s insides. Somehow it felt like it had now become a victim of a hit and run. But by whom? Then the leaves add another texture to the scene for me. They too have fallen, curling and twisting in their passage. All transitioning away from their known purpose. Exit.

I’m not sure what I want to do with it, just leave it as photographs or progress it into drawings, there is something about the forms and shapes it takes that is a little provocative to capture - maybe printmaking. Maybe a digital composition of all four images.


 

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.