Passage between the binary and self-decomposition by Justin Harrison

Image my own


This ia an image I took some time ago, but it came to mind after my last blog entry. It’s the limp bird from the game paintings and the glove at the road side.

I previously posted it on Instagram back in October 2019. What’s curious is the entry I made. I wrote “…it’s a preoccupation with transition and being in ‘passage’ - that perhaps there’s a moment between binary markers’

This really is a preoccupation of mine. But why? Why do I focus on this area?

The bird will soon be rendered down to it’s constituent parts, as it gives itself up to the soil, feather and bone to minerals and proteins. Carbon dioxide, water, simple sugars and mineral salts.

I looked up what happens to a body that is decomposing. Breaking down to simpler elements. Then I discovered this delicious passage.

“Decomposition begins several minutes after death, with a process called autolysis, or self-digestion. Soon after the heart stops beating, cells become deprived of oxygen, and their acidity increases as the toxic by-products of chemical reactions begin to accumulate inside them. Enzymes start to digest cell membranes and then leak out as the cells break down. This usually begins in the liver, which is enriched in enzymes, and in the brain, which has high water content; eventually, though, all other tissues and organs begin to break down in this way. Damaged blood cells spill out of broken vessels and, aided by gravity, settle in the capillaries and small veins, discolouring the skin.”

Mo Costandi - 25 May 2015 Guardian Online.
https://www.theguardian.com/science/neurophilosophy/2015/may/05/life-after-death

It’s like poetry.

Still Life with Dead Game, a Monkey, a Parrot, and a Dog
Frans Snyders


 

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.


 

Bag Dump by Justin Harrison


I’m not entirely sure where this is going… but there is a thread that runs out from this. I’ve collected these images all formally arranged elements from a bag. There’s something about collection, organisation, display and function. All the items are things I’d like to own, but beyond this it feels like a narrative is buried beneath all of this.

I’ve had this though about travellers, individuals ‘passing through’, there location being ‘in passage’ and place being where they pause for a time, and or where they are going.

There is an element of folk law to it too, I feel like there are deep stories that I need to unearth, maybe in the making, as I make and collect elements for a travellers pack.

Who is this traveller?
What is their purpose?
Where are they heading?
Where did they come from?

Currently Reading:::
The Rites of Passage /// Arnold van Gennep

Currently Listening To:::
https://www.youtube.com/watch?v=46VHdzSdB7k


 

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…


 

Tutorial #2 27/01/2022 by Justin Harrison


Tutorial #2 27/01/2022 - Jonathan Kearney

Brief description of the things discussed

So I took notes. I need to. I get into great conversations and then promptly forget most stuff. Like last time.

We discussed in quiet a bit of detail my last blog titled ‘Disrupting the Averages’, mostly because it perhaps demonstrates well what is happening with me and my practice. There appear to be healthy changes happening and a rhythm starting to emerge as well as the work growing in its identity.

Jonathan mentioned how what’s positive is that I am learning to work in two possible ways, the methodical one that I have known well for time and a faster more immediate and spontaneous one which is as productive and valid.

I am becoming wiser about my emotional states and can instigate healthy practices to self care and encourage. The idea that I tease myself by leaving out inspirational materials or tools being one in particular.

It was also encouraging to hear that some of the entries have a eloquence to them and that there is a visual coherence across materials and images and drawing, something that Jonathan mentioned in my last tutorial.

There was some discussion about the freedom of research being a good thing yet there could be some more work done around other artists, and Jonathan questioned around my connection to Matthew Barney.

Other key areas discussed were///

Interesting positioning of the work Representation/abstract how they can both be present. JH

Joy in recent spontaneous sculpture is perhaps a key turning point. JH

Drawing in ink especially another joy for me. JH

Integrity of the materials is key to the language and spirit. JK
(We also discussed the creative process of ‘Finding Nemo’ and how unseen research becomes integerous to the work)
The more I am able to consrtuct a narrative thru the materials essence I am able to construct an integerous dialogue. And authenticity.

I mentioned about Lament and how it’s a common motif and has taken a while to become ok with it. That the lecture on lament and energising was helpful. JK also mentioned worth looking at Brugerman - ‘Prophetic imaginations’ which I have somewhere end must dig out. Also 19 thesis’s - rant / lament of USA

https://brianzahnd.com/2009/03/brueggemanns-19-theses/

Key areas in my work///
Location, Materials, Drawings in my sketchbooks that become a thing in themselves.

My relationship to dead animals - why?JK
Probably my dad showing me medical books from a young age with images of our lungs, hearts…

Why the Forest? JK
Woods removed form all man made objects. Solitutude. Lack of distraction easier to centre self. Liminal place.

3. Your thoughts about the next steps you should take

More research to inform the making, but it really doesn’t have to be academic, but things that I don’t fall asleep reading.

Capitalise on the new rhythms I am learning. ones that are productive and freeing. I have freedom but in restraint simple principals can do things in different rhythms and time frames.

Not being too precious..about my work.

Capitalise on the things that connect, materials that mean more to me - eg Claires fence panelling, as it affects how I make and feel about the work. Keep finding what inspires me - everything is research.

Enjoy drawing and don’t worry too much how it connects to everything.

Make.

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. 

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

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


 

Encombre #2 continued more by Justin Harrison


I returned the next day to witness the transformation.

Images///

All images my own


 

Encombre #2 Continued by Justin Harrison


Encombre #2 broken landscapes. With an odd, but makes sense to me reference to the movie the Joker, (previously touched upon in a blog on the 13th of October)

It’s the colours the stark muted tones dropping to black, but punctuated by a stark vibrant and synthetic yellow. In the movie it jars along with the narrative.

In the street images the yellow road markings sit incongruous, whilst a greater drama ensues. One of transformation in what has become a liminal place, or perhaps a liminal moment>>>

Images///

Image stil - taken from movie: Joker
Directed and produced by Todd Phillips 2019
Joker was produced by Warner Bros. Pictures and DC Films in association with Village Roadshow Pictures, Bron Creative and Joint Effort.

All other images my own.



 

Encombre #2 by Justin Harrison


I’ve been wanting to add video sketches to my work for a while, and finally found the opportunity. I took an alternative route to work and discovered this delicious spectacle.

The ground had opened up and ushered forth. The tarmac blacked and fractured. Sunken and violent. The street transformed from it’s passive state to a site of unknown menace and promise. I felt that were I to enter the water could be relocated to another space. Transformed. Passage.


 

Dear by Justin Harrison


Following yesterdays post I looked up Game painting, specifically deer. The major players Jan Van Weenix and Frans Snyders. I guess it would come to this sooner or later…dead animals. So here is my confession.

Hi my name is Justin Harrison and I have a thing about dead animals. My friends if the see road kill - think of me or send pictures. This theme always seem too manifest sooner or later in my work.

I guess maybe the MA is the place to follow this moribund thread.

I’m thinking about a body of work and this actually plays very well into it, I’ll need to research some more, but revolves around ‘bag dumps’ that you see often on Instagram, Youtube - If you follow Bushcrafters or survivalists. I like the idea of making the contents of a bag dump but for a 17th Century Game Keeper of for an imagined traveller/ initiate.

Kit for the rite of passage///
Knife, Compass, cordage, bag, invented tools.

There is something I love about the game paintings, the colours and lighting, a strange tableaux. As I look through the galleries of images I could collect more…

I feel like there are some interesting and deeper connections, but having had very little sleep for the past few days I’m gonna trust that I’ll figure it out…

Image References:
https://fineartamerica.com/featured/a-huntsman-cutting-up-a-dead-deer-with-two-deerhounds-jan-weenix.html
A Huntsman cutting up a Dead Deer, with Two Deerhounds
Jan Van Weenix

https://www.passionforpaintings.com/en/art-gallery/sir-edwin-henry-landseer-painter/of-a-dead-stag-oil-painting-reproduction
Of A Dead Stag
Painted originally by: Landseer Sir Edwin Henry
Recommended: 25 x 18 "

http://community.artauthority.net/work.asp?wid=64064&pos=2
Title: Still Life with Dead Deer, Heron and Hunting Implements
Artist: Weenix, Jan
Year: c. 1690 Medium: Oil on canvas Dimensions: 47 15/16 x 62 3/8 in. (121.8 x 158.4 cm)

https://collections.vam.ac.uk/item/O131738/still-life-with-a-dead-oil-painting-snyders-frans/
Still Life with a Dead Stag
Snyders, Frans 
Oil Painting 1640s Antwerp

https://artuk.org/discover/artworks/still-life-with-dead-game-138951
Still Life with Dead Game
Frans Snyders (1579–1657)
Hunterian Art Gallery, University of Glasgow

https://www.rijksmuseum.nl/en/collection/SK-A-591
A Dog and a Cat near a partially disembowelled Deer, Jan Baptist Weenix, 1645 - 1660 oil on canvas, h 180cm × w 162cm × d 12cm × w 46kg


 

Sadness comes from quiet place. by Justin Harrison


Just cos I like the imagery. Found haunting footage of a submerged deer dancing, dead but moving through the water held in the jaws of an alligator, something saddening and beautiful simultaneously.
Instagram Video Posted by Real Nature on the 20/01/22

It touches on the dead horse again and death as transformation, a point of liminal exchange. Here the alligator becomes a ‘master of ceremonies’ or maybe the ferryman.

Then a tube poster that just pleased a deeper part of me. The aesthetics.


 

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.


 

I am everything you left behind. I am everything you don't want #4 by Justin Harrison


Another discovery, at 2am this time. Not quiet what I’m looking for… I like when the subject has undergone some form of transformation. However it has this cinematic feel with the lighting, in addition the arrangement of 3 items has some from of aggregation. So I guess it counts.

The subject has this sense of semi-passive/dysfunctional patience to it. ‘Waiting for Godot’. It sits mutely in it’s incompleteness (Half a sofa), somehow stalwart in the belief that it has purpose. This whole image has a late middle aged feel to it. Or is that just me?

I find the first image works best, the lighting and confrontation perspective.

Less of the dead horse in these - which I find disappointing.


 

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.


 

Dead Horses by Justin Harrison


I am everything you don’t want. I am everything you leave behind.
(I realise that the sofa comes under this title too)

Ok so been having a little fun researching dead horses. I’m still stuck on the discarded sofa I found in Brighton. The strong connection to dead horses. Especially with it’s four legs stiffly jutting out like rigamortis. Covered in layers of fabric like skin and fat.

My favourite of all the artists had to be Berlindfe De Brukyer, her relationship to the materials she uses is potent and I’m left unnerved and beguiled at the same time. Visceral and cruel her work is quiet matter fo fact and yet more subtle codes are embedded in her layers.

Some of my deep fears and darker encounters seem to reside somewhere in her work to, unsettled Want to leave yet continue to look, like a bad dream that I can’t leave.

https://www.galleriacontinua.com/artists/berlinde-de-bruyckere-21

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Points I’m mulling over in connection to my research questions:

What does it mean to be transformed? How does this occur?

To Discover Temporal and spacial locations in which a form of transformation happens. 

What are the consequences?

Why are the outcomes?

Can we influence the process?

When does it occur naturally?

When has it happened in history?

How do other artists engage with transformation?

Are liminal places key in all this?

IMAGES USED>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

A DEAD HORSE - (JEAN-LOUIS-THÉODORE GÉRICAULT)

Untitled (desiccated horse carcass sitting up) - Sidney Nolan (Australian, 1917-1992)

Hungry ones in Petrograd dividing a dead horse in the street (1917) - Ivan Vladimirov

Berlinde De Bruyckere
https://www.youtube.com/watch?v=OPJwkXf5RK4
https://www.galleriacontinua.com/artists/berlinde-de-bruyckere-21
No Life Lost II, 2015
https://www.artnews.com/art-news/news/berlinde-de-bruyckere-at-hauser-wirth-new-york-6097/


 

Encombre 2 by Justin Harrison


I saw a connection to the enviscerated horses in the movies and the sofa cast aside - partially dismantled. There is something I find unsettling in the brash colour a synthetic fleshly pink mixed with the violent disgorging of springs and struts. Layers of fabric folded back like fat and skin. Struts as bones splintered. Left sprawled, undignified in the street.

Yet how is an old sofa a dead horse?

Sacrificed in its death for another.

Another roadside victim, like a roadkill fox cast to the curb.


 

Liminal/Threasholds, Threashing Floor and a sneaky Star Wars reference by Justin Harrison


I found a curious connection between the films: Star Wars - Empire Strikes Back/Revenant/Man in the wilderness/Rivers of Fundament (Matthew Barney). The visceral and jarring motif of entering and exiting an enviscerated horse/ cow/ tonton for survival and as a metaphor for death, rebirth and transformation. I’m not sure if there is a classical reference that precedes these films - or any myths or stories. .(I’m not sure how ‘Fine Art’ Starwars is but I’m gonna crowbar it in cos… well it’s Star Wars).

However the motif has caught my attention as it also demonstrates the metaphor of a Liminal place a space where a transformation occurs or a threshold crossed - albeit a psychological one perhaps.

In addition in these contexts there is a dual form of sacrifice:
1.The host animal/ mothering agent.
2. The form of a ‘little death’ of the subject ( a passing through) and then a transformation upon exiting.

In Barneys film there is an uncomfortable feel as the Demi God character enters what appears to be a very dead and decaying carcass, which asks the question what kind of transformation would occur in this context?. Much of Barney’s work is unsettling and visual grotesque so it almost suggest something sinister and perhaps rather than a transformation it would be a corruption and deformation////

A place we fear to look ||||||||||||||

The envisceration is profound - a forced space for the incumbent. Perhaps this is what is jarring is the ‘manufacturing’ of a liminal space. I wonder if true transformation can only come through a naturally occurring spiritual liminal space. Fabricated ceremonies lead to a performance of transformation where perhaps the change is only superficial. Which we could say of Revenant, which actually has two moments the first being when Hugh Glass is partially buried being believed to be near death, and then the act of survival where he uses his horses carcass to shelter from a snow storm.

Death and Rebirth///

Tranformation//?

Deformation///

Threshold///

Threashing floor///

This has also had me thinking of the biblical reference fo the threshing floor - a metaphor for separation of the good form the bad - it also has a liminal essence to it for those who are prepared to confront their own short comings and be transformed by a purification process.

More to be extrapolated but I keep loosing my train of thought////

https://www.youtube.com/watch?v=gZy99QDPhpw