Studio 22 Oct /  by Justin Harrison

It was quiet a feverish time in the studio today, I’m trying to make everything that is in my head, it seems the simplest response. I’m stressed because I want to be making MA worthy work again. I’m carrying the voices of imagined peers and imagined criticisms. ‘Everyone disapproves of my use of time and resources’. The power of our imaginations - I’m using my powers for evil not good. SO my response is to try and just make everything that I currently have in my head, just dump it all out because at least I am being productive and hopefully I can free up my thinking into more productive paths.

I managed to finish the last joint on the draw paddle, it still pains me that they are not well executed. I hate that the cuts are tatty - it really bothers me …like alot…it needles away inside my head. But I just don’t have the time to be fussy right now, I need to make everything that I am seeing, feeling. I am also hoping that out of this pushh will come work that really interests me. I am getting a little bored of just making paddles they aren’t talking enough for my liking.

I make a number of hasty pieces putting ,materials together to ask what they might say. I fabricate another peg, this is a self indulgent exercise as I get some kind of pleasure from making them, I like putting the leather and the wood togeher. It does leave the question to what purpose, what are their purpose? What do they hold? But then that’s maybe useful, pegs are my markers, simple and impermanent the temporarily can hold onto something or mark it’s place.

I’ve also had two lumps of tarmac sitting around the studio, that I’ve not known what to do, but today they got bound up in some leather I had left on my bench to provoke something to be made. Again led by the materials I tried to find something that they were happy with. It’s become some sort of sling or hammer, again I bashed it out, no measuring or marking. Photographing it on the old wood felt right, the placement and reference to an older history. I like the idea if ignoring chronological time. Anachrony. Derrida’s hauntology comes into play. I like that the sculpture has history in it’s materials. It’s lived two lives already;

Life 1. The Raw Material, the evolution/ life span of the wood, leather and tar, is one life time that has passed.

Life 2. The Given Purpose, The draws, the pavement, the garment. The material exists in an assigned purpose.

Now it exists in a third and yet still retains the previous histories, lives, they are still present and palpable.

I’m close to finishing the Holly Jointed Paddle, I just need to peg the blade sections. I drill the wood and have already bunted on bit and broken another. The holly is tough, I respect it for that, it again gives character to my materials for me and it’s important that I listen to them. Also in looking through my sketch book I notice a detail I had forgotten to add. I must upload my drawings as they carry important details and noters that I often forget and I don’t often look back through and read everything.


 

All Changes /  by Justin Harrison

I’m trying to pull everything together, I have various notes and ideas, there feels to be strong relationships between the elements I am discovering. So below are my latest notes and thoughts, for my research paper, which may need to change altogether from what I have submitted as a second draft….

Same not the same

"Strategy without finality" Derrida Differance - in Royale Nicholas Jacques Derrida p 153

There is no answer no unifying theory of everything

Change is constant

Territories and the liminal. Liminal Territories.

The liminal is constant change. The passage to transformation.

There will always be change - difference, differance. It brings creativity - progression - Transormation

Theory of incompleteness.

To accept change as a cleansing agent that protects us from structural stagnation.

"The question of difference within any society or culture is always conjunctural, ever-changing, and conditional. “Race” is not a permanent social category, but a historical product of slavery and human exploitation, an unequal relationship between social groups." Manning Marable Essay: https://items.ssrc.org/from-our-archives/black-studies-multiculturalism-and-the-future-of-american-education/

We cannot fill the void

We are incomplete

We will remain incomplete

The Liminal can never be resolved,

located in time

or space

or concept

The passage facilitates change

Movement

Accepting continuous change

Progressive generation.

"As he puts it in an essay entitled 'Ellipsis' (1967): 'Why would one mourn for the centre? Is not the centre, the absence of play and differance, another name for death?" Derrida in - Royale Jacques Derrida p 16

"For, always incomplete, of an incompletion which is not the negativity of lack, [deconstruction] is interminable, an' interminable analysis', ('theoretical and practical', as we used to say). As it is never closed into a system, as it is the deconstruction of the systemic totality, it needs some supplementary afterword each time it runs the risk of stabilising or saturating into formalised discourse (doctrine, method, delimitable and canonised corpus, teachable knowledge etc.)...[Deconstruction would be] afterword to the presence or presentation of the present itself." Derrida in - Royale Jacques Derrida p 145

The paddle as an agent of change/ movement

The presence and nature of change in UVR/artists work. Passage and Transformation.

UVR's Little nothings complete in their incompleteness.

Are her little nothings incomplete?

UVR Haunting of materials - age, presence agency, repetition

"After Derrida, one has to reckon with 'presences' that are neither simply inside nor categorically outside the text" Royal Nicholas, Jacques Derrida P149

Hauntings an 'incomplete presence' in the art, in the materials physicality, treatment and in the movement of the artist 'passaging'.

Neither inside or outside of the art. The meaning neither inside or outside the artwork

See below also 'Included Middle" as key connection, regarding the position of a thing as neither inside or outside.

The First Incompleteness Theorem provides a counterexample to completeness by exhibiting an arithmetic statement which is neither provable nor refutable in Peano arithmetic, though true in the standard model. The Second Incompleteness Theorem shows that the consistency of arithmetic cannot be proved in arithmetic itself. Thus Gödel’s theorems demonstrated the infeasibility of the Hilbert program, if it is to be characterized by those particular desiderata, consistency and completeness.

https://plato.stanford.edu/entries/goedel/

Heisenberg noticed that there are cases where the straightforward classical logic of A and not-A does not hold. He pointed out how the traditional law of Excluded Middle has to be modified in Quantum Mechanics. In general cases at the macro scale, the law of Excluded Middle would seem to hold. Either there is a table here, or there is not a table here. There is no third position. But in the Quantum Mechanical realm, there are the ideas of superposition and possibility, where both states could be true. 

The Included Middle is a conceptual model that overcomes dualism and opens a frame that is complex and multi-dimensional, not merely one of binary elements and simple linear causality. We have now come to comprehend and address our world as one that is complex as opposed to basic, and formal tools that support this investigation are crucial. The Included Middle helps to expose how our thinking process unfolds. When attempting to grasp anything new, a basic “A, not-A” logic could be the first step in understanding the situation. However, the idea is then to progress to the next step which is another level of thinking that holds both A and not-A. The Included Middle is a more robust model that has properties of both determinacy and indeterminacy, the universal and the particular, the part and the whole, and actuality and possibility. The Included Middle is a position of greater complexity and possibility for addressing any situation. Conceiving of a third space that holds two apparent contradictions of a problem is what the Included Middle might bring to contemporary challenges in consciousness, artificial intelligence, disease pathologies, and unified theories in physics and cosmology.

https://www.edge.org/response-detail/27155

///

Draw on paddle with clay?

UVR Transformation of materials in form and concept?

What is this deep love of materials for her?

A strong sense of history and of time passed.

"I always have a specific vision of what I want in my head, because otherwise I wouldn’t be able to start. Other than that, I rely on instinct. I honestly don’t understand it, but I also know something else so clearly. Earlier today, I was working on a required legal document and I felt like a child. I felt so stupid in regard to my lack of understanding and the fact that I don’t want to understand them, but I have to because I’m grown-up, or whatever. I feel completely different in the world where I make my art… it’s so clear to me that this is what I was born to do. And it’s not as though anything is absolute, or definite, or defined." UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

"Titles do have a meaning for me, but I don’t want them to have that meaning for anybody else. For this reason, many of the titles I give my works are in Polish and are often not translated. I refer to my sculptures as “bowls” but hate it because they are not bowls. They are an excuse to do all these things that can conceptually feel like fabric, or like the ocean waves. I cannot compete with actual waves, but I can make forms in an entirely new way. Trying my hand at these wave-like structures, I like when there is unexpected movement, or where it does something that it shouldn’t or is not supposed to. It’s as if they misbehave." UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

When you attended Columbia in the early ’80s, Minimalism was all the rage. Did you ever connect to that movement?

If you made work with a figure, you’d be dead in the water without any hope to show in a gallery. The minimalists were really in power for many years and they had a haughty idea of what was right and what was wrong in art. The minimal look is minus feelings and full of philosophy and erudite high-end talk. It’s so not me, although it’s not that I didn’t borrow from them either. I borrowed the grid from Sol LeWitt, and their use of repetition. UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

"The grid is my guardian." UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

"That’s the best thing about art, you can’t label it. You won’t find an answer, ever." UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

"I come from generations of Polish peasant farmers. I’ve always been inspired by their tools and wood piles. There is nothing that is superfluous." UVR

https://thecreativeindependent.com/people/ursula-von-rydingsvard-on-how-your-career-evolves-over-time/

 

It seemed like a good idea at the time /  by Justin Harrison

Mud

Smells bad

I look weird

Forest smells good, wet

Trees look fecund, perfect light

I rush

Forget to photo in sequence. My keenness blindness

Mud applies odd full of sticks and stones

Realise the smell is also duck shit

Drawing is hard, feels silly

Like a bad idea, not how I had imagined

Run down my arms

Not as good idea as I thought

Drawing is not working how I planned

Maybe that’s ok

I left in a hurry and didn’t ask the tree how it felt about it

///////

The above is my notes - I was gonna write a detailed journal entry but I think I prefer just the notes.

Further thoughts.

I think about using terracotta clay it would apply easier and I’d have more control with the drawing but I also know that the materials would need to be integrous, If I were to buy the clay it might feel synthetic.

I need to look around and find a river with red clay, maybe go onsite and collect it and work with it. A set of drawings across 5 or so trees?

Sources for naturally occurring clay

https://victorianweb.org/science/geology/smith3.html

https://nativehands.co.uk/2016/11/wild-pottery-clay-digging/#:~:text=You%20can%20also%20look%20for,area%2C%20that's%20a%20good%20sign.

I did like the blackness of the pond mud against the lightness of the tree. It has a quality to it that feels satisfying. The materials matter. It was textured too with leaf matter and sticks, this to gave it a unique quality and tone of voice.

I do need to go back and visit. See how the drawing changes as it returns to the forest 🌳

A ritual tool

Addendum///

I returned a month or so later, I really wasn’t expecting to find much and was suprised to find most of it intact. I find that I like it but not enough, it feels like it needs more, but I can’t quiet figure what. I do like that I’m drawing in mud. Mud made up from decaying elements of the immediate surrounding, leaves , twigs, dust and yes duck feaces. Some how it rising up from the ground feels interesting. I do still worry about it feeling ‘Andy Goldsworthy’ but again if I could push the work a bit harder it might stand on it’s own better.

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What do I really think about Anish Kapoor? /  by Justin Harrison

I’m torn, I’m not sure I like Anish Kapoor’s work anymore, which is kinda tricky as I was looking at him for my research paper. I’m sure he doesn’t mind, but there you have it, after looking for a while I’ve become less enthusiastic about it.

I do like the language of the materials. The imperfect dialogue, I can’t translate it all, but who can? The text of steel or the dialect of paint. It murmers in deep tones, a quiet melodic muttering.

Yet I feel disatisfied, like I’ve eaten but still feel hungry. I want to access more but feel arrested at times. I know how much Homi Bhabha enjoys his work, which makes me stop, pulls me up. But when I hear him talk it seems like a lot of the creativity and intellectual rigour is Bhabha’s rather than what Kapoor has invested in the work.

Some of his recent paintings feel tedious and a little in the territory of art therapy. I find I don’t want to interpret them, I feel repelled rather than a desire to enquire. Content and context matter. Materials matter. The above work I do like however I’m finding that there is more that I don’t.

The work of translation and interpretation is often the burden of the audience, yet how much? This is another rabbit hole of Roland Barthes and others.

 

Passing Through /  by Justin Harrison

Hmmmm - it’s ok but the scale change pulls me out of the work. They need to be closer in scale. I wonder where this can go. It feels interesting like it could go further. Well first of all I need to really identify why the paddle? Why it features so much in my recent work. There doesn’t need to be a direct leading narrative -but I want the work to travel further.

I guess it’s good to experiment. I also wonder what would happen if I were to work larger. Film a drawing and let it unfold as a Gif. There’s a drawing I want to make on a tree. It could be interesting to document as it progresses.

 

Passage /  by Justin Harrison

There is something about this that I like, I’m not sure how I feel about reducing my drawings to a gif. But then I’m not sure it’s reduced them, it’s done something else for me. I wonder where I could take it, and what it means right now.

I think there is an element of strangeness that I like, the transitioning the movement that is somehow honest, it’s not trying to be an animation with a distinct narrative. It’s a broken moment, a haunting, ‘time is out of joint’.

I’m now obsessing which can be a good and a bad thing. The paddle is now a key object, I’m making them in my studio and in my drawings. The tool for navigation, immediate and resides in our hands, yet partners with a craft of some description.

I’ve been listening to Anish Kapoor interviews and reading text as research for my paper - and them there was a brief discussion about making a series of the same object or work can up, and I found it encouraging, to explore an idea - open it up and out. I think I worry that I am just repeating iterations endlessly and that there is no value to it. I am annoined that I feel like I need permission.

The drawings are strangely pleasing for me, I’m connecting with the way the ink bleeds out to granular and the empty negative that it creates.

This particular media I’m using was ironically made by Stuart Smeple in a reaction to Kappor’s Vantablack, it has a quality in its miss use that I especially like. When diluted it has a granular property that separates out into delicious bands of gradients, leaving small tidal marks and tracks. Something deeper in me connects to specific marks, moments. Yet it leaves this gritty feel, like BhaBha’s scalar interstices, the bundle divisable. Collective moments spread across time inconsistently. The bleeding through, the threshold melts, margins fade.

This is a slightly modified version form my first attempt. I worry that this could mean hours on my computer. Have I really only discovered animation now?

 

I don't know why I like this /  by Justin Harrison

There is something about this that I like, I’m not sure how I feel about reducing my drawings to a gif. But then I’m not sure it’s reduced them, it’s done something else for me. I wonder where I could take it, and what it means right now.

I think there is an element of strangeness that I like, the transitioning the movement that is somehow honest, it’s not trying to be an animation with a distinct narrative. It’s a broken moment, a haunting, ‘time is out of joint’.

I’m now obsessing which can be a good and a bad thing. The paddle is now a key object, I’m making them in my studio and in my drawings. The tool for navigation, immediate and resides in our hands, yet partners with a craft of some description.

I’ve been listening to Anish Kapoor interviews and reading text as research for y paper - and them there was a brief discussion about making a series of the same object or work can up, and I found it encouraging, to explore an idea - open it up and out. I think I worry that I am just repeating iterations endlessly and that there is no value to it. I am annoined that I feel like I need permission.

The drawings are strangely pleasing for me, I’m connecting with the way the ink bleeds out to granular and the empty negative that it creates.

This particular media I’m using was ironically made by Stuart Smeple in a reaction to Kappor’s Vantablack, it has a quality in its miss use that I especially like. When diluted it has a granular property that separates out into delicious bands of gradients, leaving small tidal marks and tracks. Something deeper in me connects to specific marks, moments. Yet it leaves this gritty feel, like BhaBha’s scalar interstices, the bundle divisable. Collective moments spread across time inconsistently. The bleeding through, the threshold melts, margins fade.

 

Pushing /  by Justin Harrison

I kind made work and unmade work. Well it feels like I messed up. I attempted a bunch of stuff and it really didn’t come out how I was hoping.

The Draw paddle joint I was cutting came out clean and then as I was ‘tidyin’g the channel with a chisel I took chunks out, now it looks horrible, I don’t know how to feel about it, I was enjoying the clean lines. I want to make lots and I’m trying to let the perfectionism go - but how far fro I go in letting go?

I forget the lessons that wood has taught me and have to relearn them, the character of there grain and what it will and won’t permit.

I sent a good part of the afternoon stripping a green branch, I discovered they bend far easier than one that has had a chance to dry out. I thought I’d found the perfect branch in size and diameter, but on stripping it I signifiacantly reduced the diameter. It surprised me , then wen I was bending it I pushed it too far and too fast - it began splintering unable to cope with my expectations. This is for a piece that I started agues a go and have been waiting to find the right material, now I’m still waiting.

I am learning but I am annoyed and I feel the pressure of time against me. The work is not where I want it to be and right now I don’t feel excited by it. It could just be a bad day, but there is a feel to pieces that are succeeding - they have more dialogue with me.

Blah blah blah - I’m annoying myself.

 

Wangechi Mutu /  by Justin Harrison

I’ve known of Wangechi Mutu’s work - but feel like I saw it for the first time today. Some artists work goes deep, and she is one. I’m a sucker for beautiful mark making that carries difficult resonances to it.

I guess I’m interested on a superficial level because of her use of bled inks, collage and layering. But then her work occupies and very interesting and challenging place. Her dialogue in the work confrontational and powerful. I hadn’t known of her sculpture before - so this is new to me. It’s encouraging to see an artist working between sculpture and drawing so successfully, I struggle to reconcile the two practices a lot of the time.

Mutut’s work broods on the paper and in content, it has a slow but purposeful movement to it, never feeling rushed. It’s fascinating how she controls time and pace with colours, textures and marks.

It has a sense of resistance and strong independance - creating her own aesthetic language. It also has a feel of the liminal, the sense of time, ghostly and refusing categorisation, the figures feel as though they are constantly evolving refusing the binary.

https://vielmetter.com/artists/wangechi-mutu

 

Movement and Passage /  by Justin Harrison

Image my own

Notes whilst cycling home...I've found my processing happens at interesting moments and not always the most convenient! I've learnt to record messages to myself to scribe later.

An aperture opens up through/by the interstices, and can connect to any number of possible apertures, the rhyzomic, with no guarantee where it will end. This is the 'Unknown' the 'fluid', the 'frustration' of 'being in passage'.

To pass through requires movement, and this is fundamental, movement must always occur, because to not move is stasis, a 'little death' and that is the structure, the structure does not move, it cannot take passage through the Liminal, for it is an aberration.

The structure has an 'illusion' of movement because it has a centre (((Derrida Structure sign play)))and everything (((WHAT? All that is termed/defined by the binary of the structures definition))) is tethered to the centre, and it can only circumscribe a circle of a given diameter, territory. A false moment, an ersatz movement, a 'performative'.

Where as once displacement has occurred for an agent, then there is a' line of flight' as Deleuze describes in Minor Literatures. This displacement can come through two sources, either structural violence where somebody is ejected - removed form the structure for failing to fullfill binary demands, or violence to the structure where somebody rejects the structure and remove themselves. Rejection and Ejection - this trajectory requires 'movement' through new boundaries new borders new apertures, new interstices.

Other thoughts

The trouble with the Binary is that it is a 2 dimensional in it's approach. It lacks holistic thinking and fails to acknowledge the differance, the movement, the third dimension, or third space as Homi Bhabha describes.

AK makes work that sets up perameters that manifest the void. It messes with the binary logic, rational. Making the untenable - the untouchable

UVR makes work that stands in defiance of ejection the weigh and size, the oversized. Defiance of authority. (Often self elected authority)

 

Displaced artists of occupied territories /  by Justin Harrison

Displaced artists of occupied territories

Displaced

From occupied territories

Liminal- third space

Essay Title?

How does the legacy and immediacy of occupation and displacement translate into the liminal through the artwork Anish Kapoor and Ursula von Rydingsvard?

How does the immediacy and legacy of occupation and displacement translate through the artwork Ursula von Rydingsvard and Anish Kapoor?

Key Notes/Words:

Structural violence

Displacement of structural violence - how is it translated to another form, offset? What does it offset itself.

The Offset = Derrida Suplimental?

Translation occurring through the dual aperture of hybridity creating the interstices.

Liminal = Differance movement between interstices.

UvR- Liminal

Kapoor - Void - Colonisation robs a culture if it’s history,  identity,  and culture, intellectual resources, cultural resources, historical resources, destabilises, erases, aborts any knowing of a possible independent developmental future, which is even more perfidious as no nation who occupies another really sees its occupation in the long term, but as an opportunistic engagement.

Materials Matter /  by Justin Harrison

Finally back in the studio.

I’ve taken the clamps off the paddle roughly made form fencing panels - I still like, although it feels slightly out of character for me. There is a curious freedom to it that I would have resisted before as poorly made, lacking craft, and although I do miss my beautifully made items - there just isn’t time to fuss. I have a number of things I want to see completed, ideas manifested.

But somehow the Fence Panel Paddle feels like its not doing enough work. I think it needs a mixture of textures - I wish I had fine sanded and polished one layer to stand in contrast and resistance. Do I make another paddle and put in the fine layer on that one? Do I like the work enough. Especially when there is more to be made. The value to making the faster care free work is that I am more generative. Make more…

I move on for now and cutting the wood for a jointed paddle. It’s hard to do it well and cut straight by hand but I am learning. The cuts straighter - it’s hard working in green wood, everything blunts faster, and it’s super tough to drill. The green wood has a high level of resistance I get as far as I can for now as I left a key tools at home.

I move on to strip some other branches for a bundle and realise that they are not Holly. Most of the time I have been picking up fallen Holly branches and I’m used to the colour and feel of the wood. As I take the bark off a branch it reveals fine stripes and yields it’s bark differently not quiet as satisfyingly. I don’t like it, it feels all wrong.

It makes me think of my research artists Anish Kapoor and Ursula von Rydingsvard. The materials are vital, a core part of the language of the work, even with Anish Kapoor who often worked with negative space and voids, the materials that are the genesis of the void are a vital part of the tension. The rock, wax, glass and fabric. It’s unavoidable, not just the material but the way an artist chooses to work them. The materials matter. Even the spaces in-between the materials, the ‘differance’, because it is influenced by the neighbouring elements.

I feel like in my work there is more for me to do, to find to visit upon the materials, but then I’m not sure I have the language I want yet.

I realise that I am in a transitional place, quiet normal for an art MA, but never the less it’s unsettling, I see that my conceptual underpinning is far more rigourous - especially from all the research I’ve been doing. I’m not there yet, my work still isn’t cogent, but I feel the difference the movement. And it’s quiet ironic yet not surprising that I should enter into this having been writing about it.

I’m troubled by my work which today feel overly simplistic and lacks essence, presence. But I continue accepting that ‘passage’ is rarely a comfortable space and this is my work. The jointed paddle itself a tool of passage, awkward and it’s purpose ‘offset’, present but impractical. The differing of meaning in my work - ‘Differance’

Growth and Decay - I like the abstraction of the process. the gradual loss of recognisable form and purpose, the granular yielding back to constituent elements.

NOTES:

Listening to Homi Bhabha whilst working in the studio - this lecture is crucial to my research - if only I could extrapolate and assimilate it all.

Start at about 25 mins in:

///How we see and where we look.

///The displacement in the angle of vision.

(((UvR and AK displaced through occupation and othering)))

They have a new angle of vision in their displacement.

This is manifested in their work - only it will be translated again.

28 Scale/scalar

30 Benjamin quote: Displacement angle of vision a positive element emerges anew…..Dialectical contrasts

Breaking constructed intention.

Interstices smallest change makes a small difference - scalar notions of translation and history - small movements  - it is from them that Life is born anew.

Translation is a temporal displacement of scale.

 

Kenosis /  by Justin Harrison

Revenant -one who comes back from the dead.

Kenosis - the renunciation of the divine nature, at least in part, by Christ in the Incarnation

I’m still struck by the scene in the movie ‘Revenant’ where Glass(DiCaprio) has accidentally ridden over a cliff in escape of pursuit and certain death. His fall is broken by trees and he lands in snow relatively unharmed. His horse however is not so fortunate as we discover when Glass crawls his way to its broken body.

The weather is worsening and a snow storm 🌨 is rising as dusk falls and night soon follows. Glass with what feels like no other choice enviscerates his horse, it’s huge stomach and intestines emptied out to make a shelter.

It’s this moment that I am especially caught on. Although not voluntary, the seeming sacrifice of the horse feels almost Kenotic. No I am standing on the threshold of Blasphemy,  however I am not saying Jesus is a dead horse 🐴 But the emptying out of the self, with a sacrificial element has resonances. Furthering with the sheltering in its breast. Its a physical and metaphorical emptying. Space is made. Yet there is also displacement and occupation. In the morning Glass emerges as though born again. The cavity encrusted with ice white and shining.Time and space also seem disrupted with the emergence of Glass in the morning, the landscape has changed a thaw has begun.

Again there is a form ‘passage’ but it also includes a scared motif.

 

Interstices /  by Justin Harrison

In the intersticies the edges are blurred , indefined, indistinct. There is no clear demarcation, margin, boundary. Yet the apperature is clearly perceivable.

The liminal represents the free play, the opportunity for change. The change in the angle of vision, the change in space, time, concept. It is the opening up, where deconstruction can operate freely and generate the new. Broader passages of movement.

Hauntology, spectral, third space, void these too are different angles of vision through interstices.

Everything and nothing, liminal and void, inside and outside, interior and exterior. These appear binary terms - where is in between these? Differance?

We fear change. Being in passage. The moments of uncertainty. Movement.

Change - Passage - Is movement.

Again - Differance free play.

Stasis is a little death. Stagnancy.

Do I make ritualised tools of passage?

 

Spectral Interstices /  by Justin Harrison

Crossing boundaries and boarders

Forms never to be repeated

Appear and disappear

Present and yet not present

Geographically ambiguous

Free

“Shrouded in a forest of signs that render the conditions of speech and action barely intelligible or translatable. We were cut off from the comprehension of our surroundings we glided past like phantoms wondering and secretly appalled as sane men would be before an enthusiastic outbreak in a mad house”. Conrad Joseph - Hearts of darkness.

An opportune moment, light in constant flux, crossing boundaries and margins, formal demarkations denoting space are ignored. The small spaces giving an ‘angle of vision’ - generating the new. A fleeting demonstration of the liminal, impossible to possess or repeat.

I like that this was another video opportunity, a sketch in time. It may benefit from editing, taking out some of the less successful moments. There is a pace to certain excerts that I prefer. To slow and it becomes static, too fast and the spirit is lost. As for the rogue leaf - well that can stay.