Bleeding Through by Justin Harrison

The colour of everything left behind today. (Image my own)


Bleeding over, leaking, run over the boundaries.

Density of language

The granular

Exploring the notion deconstruction is actually a constructive/ generative act. Using the granular/granularity to build.

“Transcendental conditions nail things down, pin them in place, inscribe them firmly within rigorously demarcated horizons; quasi-transcendental conditions allow them to slip loose, to twist free from their surrounding horizons, to leak and run off, to exceed or overflow their margins. The problem in a transcendental philosophy is how to establish communicaHon across the borders; the problem in a quasi-transcendental philosophy is how to keep things from running into each other and contaminating everything” Caputo J - Prayers and Tears of Derrida p12-13 (Not very far into this book, but its hard going)


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More writing on what I observe, photo and prose.

Language of materials and transformation/change.

Film stills - of micro transformations.

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Currently my art work is a bit of a mystery to me. I have scattered assorted materials on my bench. A large belt of leather gluing and some copper pipe. Nothing much is happening with the copper but I wish it would.


 

States of mind by Justin Harrison


I’m working on assorted projects in the studio. With the mantra ‘make lots’ in my head. I know I can get caught up with trying to perfect stuff and so faster ‘physical sketches’ and experiments makes sense. But I do find it hard and it has been so for the past few days. A lot of my work feels silly. I care about making good work, but then to make good work means letting go. Work that is constrained doesn’t breathe, but is stifling. So I come back around the circle again to - just get on and make.

I start by cutting more wood with no real plan, other than dividing it up to smaller and smaller pieces, with a loose plan of reconstructing it.

Implementing more time limited piece - I set the clock for 1hr. By the end of 2 hrs I have two pieces partially made - (gluing). And a third is glueing to0 - but that’s been evolving over a while.

I’m trying to capitalise on the limited deadlines as a launch point for developing the thread of ideas. Although today I don’t feel entirely convinced. But I do know it works, things reside in my preconscious and I all too often reject them and don’t document them. but if I’ve learnt anything it’s that making and blogging captures the elusive and transient thoughts that actually coalesce into more.

Also this helps document some practical stuff like better ways to secure items whilst glues sets. (String wrapping).

It’s an interesting process - moving through different emotional states with my practice. Some of which I’m learning to ignore as they are counter productive, arresting my process.

I like the more inquisitive states I’ve been finding, photographing and writing and reading as well as making.


 

'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’


 

Response to Assessment Feedback by Justin Harrison

The Prayers and Tears of Jacques Derrida. Religion without religion. By John D Caputo


After processing my feedback, I’m attempting to refine my plans for the next year. Have realistic making goals// In parallel my research/conceptual enquiry needs refining, my areas of reading and research, I did receive advice not to get too consumed with existential theory. ( Although saying this I did just start another book on Derrida). But in my defence it’s a very different one from the usual analysis, the writing is almost prose at times and has some beautiful phrases. I know I want the technical insight but I don’t want to depart from the creative either, and I find the prose helpful.

The feedback from the assessment was very encouraging, reminding me to continue with the free documentation of thoughts and ideas through mini deadlines and making multiples that can be edited later.

I am also mindful of questions raised about engaging with 'smaller, quieter and less visible changes, especially in the context of Derrida', - rather than the more noticeable motif of death. I agree and in thinking around this - I am reminded of a line form a song - "Who are you great mountain that you should not bow low?" (“Never Lost'' was written by Catherine Mullins & Rita Springer) some how it re-addresses value systems for me. Micro and macro. Mustard seed and tree. The still small voice that can level mountains.

We look for the dramatic- the grand and the impactful yet miss the same impact that can come from the small. It's not just an inversion though...there is a different understanding of dynamics and binary. Is this where 'differance' can come into view if only for half a moment?

There is a warning again about getting trapped in conceptual theories and the perfectionism of making. I see the truth with both these points and need to carefully consider what ideas I am going to pursue and how they are going to be made. Perhaps I need to identify some common threads that appear and which I connected to creatively.

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  • Am tempted to look at:

  • Quick 10 mins sketches in porcelain and black clay?

  • Quick fabrications in cardboard.

  • Drawings made on discarded paper (It stops me getting precious with my drawings)

  • Multiple drawings.

  • Slip casting?

  • Set some hard mini deadlines.


 

Pop up show - Carton Exhibition Space, Catford, London by Justin Harrison


I forgot. It’s such a rooky mistake as well. Forgot to take proper photographs of the pop up show. I hope I can grab some images off other folxs but for now I will have to post what I have.

I got to show 3 drawings. Which to my surprise was really good. I was unsure about them and initially felt very self conscious. But discovered that actually I don’t suck and my work is ok and interesting to other people. It sounds silly now, but I realise that showing whatever I am doing is important.

It was surprisingly good to show this time around, a more low key and intimate venue but somehow I preferred it. Showing at Trinity Buoy Wharf was really good too, but I like the simplicity and positioning more of the Carton Space.

It’s a continuing question I am being challenged by - Who is my intended audience? It’s been exacerbated by showing in these two differing spaces. I dream about escaping the current social and economically driven constraints we live in. I may sound naive, but capitalism has been and is a growing concern. Having read a little around Noam Chomsky and Naomi Klein, and seeing the effects I am increasingly challenged. Especially by people close to me. I am being asked - if I object to the dominant capitalist culture around me, how is that reflected in the work I make, how I make it and how I sell it?

If I want to use my voice, then how and where is that authenitically and effectively done? Whilst maintaining an awareness of my posionality, and not falling prey to common channels that ultimately feed back into the same old canals.

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On another note - I am unsure I will make any more of these drawings as I am unsure where I want to go with them. However I don know I love drawing, its a primary language, a conduit to and from my preconscious. I need to make more draw more - work from notions as well as ideas.


 

Initiating a pact with the impossible by Justin Harrison


 

There is a place. 

Outside. 

Impossible to find but always here.

Formless.

Where from nothing, comes something. 

Birthed.

I thought I was alone.

Mistaken.

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“Sans savior, sans avoir, sans voir”

“Initiating a pact with the impossible”

Caputo J - The tears and prayers of Jacques Derrida - p xx


 

Imaginary Bundle 3 by Justin Harrison

Imaginary Bundle 3: Ink on paper, 520mm x 380mm


I like it and then I don’t. I tried really hard to keep the elements uniform, but then they’d escape me and my regime. I am a failed dictator in a very small world. I wanted order and perfection but got rebellion.

Showing whatever I am doing is important. But how else can I continue to show my work and escape the limitations of the formal gallery and the clouded water of social media?


 

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!


 

Self Digestion by Justin Harrison

(Image my own)


I discovered in researching Autolysis, that this is a reason for hanging game birds, as found in the Flemish Game Painting I’ve previously looked at. The process is used to ‘tenderise the meat’. So that which gives the meat its flavour, is basically ‘self digestion’. Which kinda puts me off that type of meat, consuming partial decomposed/digested food.

But this then loops back language and structure. I can’t quiet pin it down, but there is a commonality of impossibility/contradictory duality - non binary. Death is destructive and generative at the same time. The centre of a structure can have no natural locus but exists outside of itself - denying structure it’s structure. Deconstruction cannot escape it’s own deconstruction????


”Autolysis - a process of self-digestion, when the enzymes naturally present in what had been a living organism proceed, after the death of the organism, to break down its cells or tissues. For example, when game birds are hung to tenderize them, autolysis of the connective tissues occurs. This is most relevant to crustacea (crablobster, and prawns) where the enzymes in their ‘liver’ or midgut gland flood ‘the muscle tissue and break it down into a mush’ (McGee, 2004) if they die before they are cooked.” The Oxford Companion to Food https://search-credoreference-com.arts.idm.oclc.org/content/title/oupof?tab=contents


 

Dislocated by Justin Harrison

Transformation at my shoulder. (Image my own)


Reading Derrida’s ‘Structure Sign and Play’ is hard work. But then I didn’t expect it to be easy. I’m looking for something in his writing that I don’t even know if it’s there. I will push into some other peoples writing on him but I also wanted to look at his work firsthand.

There are some interesting phrases and I’m not sure that I properly grasp what he is investigating however I find it’s slow burn with him, that fragments gradually become more apparent and useful as I mulch over them.

Some key points/quotes for now:

  • The impossibility of the centre of a structure being inside the structure. (Paraphrase)

  • “The centre had no natural locus” Derrida ‘Structure sign and Play’ p2

  • “We have no language - no syntax and no lexicon - which is alien to this history; we cannot utter a single destructive proposition which has not already slipped the from, the logic, and the implicit postulations of precisely what it seeks to contest” Derrida ‘Structure sign and Play’ p2

  • Evasion of the binary. Ideas and articles occupying more than one position at the same time.

  • “without the risk of erasing difference [altogether] in the self identity of a signified reducing into itself it’s signifier, or, what amounts to the same thing, simply expelling it outside itself”

  • “had been dislocated, driven from it’s locus, and forced to stop considering itself as the culture of reference.” Derrida ‘Structure sign and Play’ p3

  • “language bears within itself the necessity of it’s own critique” Derrida ‘Structure sign and Play’ p5

  • “The superabundance of the signifier, it’s supplementary character, is thus the result of a finitude, that is to say, the result of a lack which must be supplemented.” Derrida ‘Structure sign and Play’ p11

  • There is something about when reduction occurs, that it cannot but help be generative. Distillation seems impossible because that the act of it, creates the new. Similar to the decomposition of a body. The reduction is infinitely more generative. Death as a creative force.


 

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


 

Process by Justin Harrison

Detail from self portrait


I look like shit. I’m seriously behind on sleep. So this seems like a good time to take a self portrait photo for the collaborative project.

I take fairly brutal one straight on, but then I find myself messing with it. I can't help it. We chose the theme 'Awkward' and this can go in many directions, I play with the image till I've almost destroyed it, but then I really like it. It's become something else, it has a Gerhard Richter feel to it and the colours are working for me. I mess with I some more pushing the colours and forms. I like that I don't know where this is going but that the trajectory is interesting, it’s undergoing trnsformation///

/// I send the image and wait to se what I'll get back....

Because I keep on forgetting what I am currently interested in I’m posting now on my blog to try and centralise my resources and focus and who knows it could be useful too.

Decomposition and the science of death.

Derrida - locate a constructive element on the up cycle of deconstruction. Also reading Structure Sign and Play.

Dead horses - find anything and draw/collograph print

Walter Bruggerman - find that book Justin.

South Africa - Finish reading and research further.


 

Just stuff I like by Justin Harrison


Not been the most productive this past week, I think my Brian had had enough after the assessment and interim show. So as an attempt to get things moving again - I’m just collating a bunch of stuff I like especially around the idea of books.

There is always a desire to draw and to explore drawing, I’m looking for a common thread to explore or maybe just make stuff and see what happens, I suspect the latter is better because the former sounds like an old procrastination tactic. I like the idea of pages and pages of delicious drawing building a narrative, coloured collographs, mono prints, raw drawings and etchings…

I discovered an artist too (picured above) who seems to be working with similar motifs. I also see similarities to his invertigations.

“In Tibetan text ‘Bardo’ refers to the transitional state between one life and the next, a state in which those that have passed, in a karmic sense, may ne guided by the living towards a more positive ‘rebirth’.
When a tree dies its wood can taken a new form and be re-imagined within a different realm.
Clays was once rock, formed beneath oceans, raised up by the mountains to crumble and be washed to the seance more.
Metal, Glass, Leather, cotton, plastic, stone - all that exists is moving, becoming again, in a constant, cyclical change.
Birth is not the beginning and death is no end

Nic Webb: Instargram 2MAR2023

Also see: https://www.nicwebb.com/works/hod-english-oak


 

I bled on it, it must be finished. by Justin Harrison


Really wish I’d put a coat of Aussie wax on it, just three coats of neats foot oil feels too vulnerable. But then it is a fragile little piece. The wood is thin, knotted and brittle, the leather porous and sensitive to it’s environment (including my blood - I jabbed my finger several times sewing it).

I think that’s what the piece is about, sensitivity and vulnerability in passage. But its more as well///

I finished late Sunday night - just in time for Monday, an annoying tension of kinda rushing it but then taking too long. ((( Note this started out as a piece that’s supposed to be made in an hour)))  But what’s come out of it is interesting and suggests to me that I should attempt the experiment of’ limited making time’ again,especially as the concept was generated through that process.

I’m intrigued by the artwork thats been made and what it touches on: Restoration, RePlacement, Resistance. Strongholds (my ref - not a theme clearly described in the piece) Momento mori, death as passage, way marker, the fear that permeates change.  

/// I’ve burnt the wood so intentionally, the surface quality is really important, transitions from raw wood into charred wood through to high polished grain and knots. I’m wanting to use the visceral feel of materials and their treatments to articulate.

I am curious to work with the fencing panels some more ( I have a bunch stashed in the studio), sanding and polishing to transform it to find value and beauty. \\\ I spoke in class the other day about ‘Agitating Agents’ people or situations that rub us up the wrong way, how they can work to refine us, teach us. Slough off the surface detritus. Process and change and discomfort.

I also wonder what would happen to the piece if I were to change it’s scale and it 3 meters high. But then I’d really have to love the piece to commit to it.

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Is this work  a documentation of passage or an intercession for change? or both I can’t really decide at the moment but then maybe I don’t need to and it’s in the process of practice I may find answers.



 

T up >> T down<< by Justin Harrison

Image my own


In writing my Study statement - I began to think about Transformation in a particular model. The problem with models is they are often wrong. Things don’t fit into categorisation or structure neatly - but it’s a way of temporarily holding the information for me, a way of looking at it - till I find a better way…

Actually a lot came out of writing my Assessment and Study statement, I’ve not considered my practice, art or interests so formally before. It was hard, I had a headache after posting it all. But so worth it, to find structure, plans and actually discover that my interests do connect.

Does transformation exist in two differing states that cycle round:

Transformation down <<

In the transformation down<<<  the process of deconstruction, decomposition. The gradual and eventual disassembly of structure, division of cells, molecules and elements.  

A rendering down to constituent parts.

Everything is divisable” (Derrida)

Transformation up >>

In transformation up>>> looking at the coalescence, aggregation, cumulation of elements or events. The newness of creation. Being RePlaced. Becoming new, becoming more.

A circle of transformation cycling through stages of Life>>>Death >>> Decomposition >>> Creation>>>New life>>>

Far from being ‘dead,’ however, a rotting corpse is teeming with life. A growing number of scientists view a rotting corpse as the cornerstone of a vast and complex ecosystem, which emerges soon after death and flourishes and evolves as decomposition proceeds.” (Mo Costandi (2017). Life after death: the science of human decomposition. [online] the Guardian).

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.

I need to locate more specific and rigorous texts that at least allude to something akin to Transformation up>>>


 

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.


 

I am everything you left to decay by Justin Harrison


I am everything
You left to decay
As walls fail
And fluids leach
Billions multiply

Out of my body
Yields possibility
I am given up
To the earth
In smaller parts
Than before

(((Discarded squash left on window sill, decaying and desicating.)))


 

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.