Drawing

Drawing meditation by Justin Harrison


Just trying to get my head back into making, after the research paper I kind went off-line. I needed a break and to reset. I visit the movie the revenant again. Trying to summon what is it about kenoticism. Drawing is.good point of meditation,, in addition I also want to animate some more drawings and need to get my eye back in as well as my head.

I like the last drawing best - it even works upside down. I think I enjoy the departure from the formal and real, a fluidity of movement where translation is free to move in a less linear fashion.

(Am also still misusing the Stuart Semple ink)

I’m keen to hold onto a few thoughts that have manifested over the past year: Bundles, Granular, Bleeding through, Kenotic, it’s hard to keep up with all the thoughts and I need to find a more organised way to formally collate the most significant. The curated blogs help but I still fear I am forgetting stuff.

Been also looking at Benjamin on translation as a point of research.


 

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.



 

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

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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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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.


 

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


 

Cleft Paddle - Same, not the same. by Justin Harrison


Same, not the same.

More paddles, there is some kind of satisfaction in making these. Touching on presence and absence, time and space. I am also tempted to return to the ‘imaginary bundles’ stacking elements in and around. Items being grouped, bundled and divisible.

I do wonder about the drawing technique - is it too simplistic? Childish. I find it is a useful short hand to explore the negative, which I am also making up larger in card. I still want to make large drawings more involved and descriptive.

Also what am I saying about the paddle? Anish Kapoor talks with Homi Bhabha about making series - the value to it. But I don’t want to be repetitive and not develop my visual language alongside my research.

I keep on finding more connections to space and time and I’m not sure I can justifiable pull them altogether. I’ll try to document as much as possible but it feels like the accumulation of information and evidence is becoming overwhelming. Just trying to find a system to categorised and catalogue everything would be a work of art worthy of an MA in itself.


 

Negative paddle recycled by Justin Harrison


A quick experiment/Physical sketch - gluing recycled packaging together, I plan to add black paint to emphasise the negative space. Also need more card. It came together relatively quickly and I hope to get it concluded pretty soon. I especially like the departure from straight lines caused by the indents in the packaging. It gives it a new dialect that I hadn’t anticipated.

Again I notice I am repurposing rePlacing materials, a new identity and yet a previous history. Moving across time and intent and purpose. Making small spaces, aspects, interstices.



 

Translation by Justin Harrison


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.


 

Jointed Paddle by Justin Harrison


This was supposed to be another quick sketch. But took two visits to the studio later…. A thought had popped into my mind a while ago to try this. I had drawn it at some point in my sketch book and at that stage it was just a thought, but as I started to make it - I got more into it. It felt good to make, the process was satisfying and the aesthetics of the bark abruptly ending against the white wood in roughly hewn construction, had an essence to them that felt right.

As it progressed I really wanted to get it made.. finished. I realised that if I could make it work then it could become more. The paddles I’ve been drawing (a tool for navigating) could speak more by adding articulated joints then let the work create it’s own dialogue and become more active.

Adding the joint also animates the work, something I’ve been feeing was missing for me and especially in regards to sculpture. I envy animation and film - the work occupies space and tie and I desire some of this ‘life’ for my work.

As a foot note UVR has made one specific piece of work that is animated ‘Mama your legs’ A curious mechanical creation that thumps out it’s broken cadence with great lumps of wood into stoic vessels.

On completion of this small sketch I’ve continued to feel excited. It has a feel and a presence to it that speaks - I like it when my work speaks back.

I have limited time for this course but I would like to try and make some large jointed paddles in variants. Drawing wil be a good way to test out various ideas before I committ to making. And also as a meditation on the work, what is it about the materials and making that is working , articulating for me.

I do wonder what level of finish to bring to the work, currently I’m learning to not be so preoccupied with excellence/ high finish. I can refine that later, right now it’s more important to see the work manifested and to make as much as possible- to experiment.

There is also something about the crude fashioning that I like, it’s part of its language. An honesty.

I do want to collect some second had wood to make a jointed paddle, which has to do with the provenance of the material, that it has a history and has already gone through one process and purposing. An old door or chest of draws crafted into navigation tools. Already having had one life it feels haunted, saturated with history and presence of agent or agents.

I also stared an offset paddle from an old draw front, I cut it purposely to leave the key hole and other details, and echo or ghost of its history.

The joints also ties to a preoccupation I’ve started upon in my research paper about Derrida’s Hauntology. Where he focussed on Shakespeares Hamlet. Hamlet declares time is ‘out of joint’ and he laments the incompleteness of his situation.

Transformation rarely is the straightforward process we hope it will be. For me large disjointed paddles crude and cumbersome, overly complicated won’t really work. Very little help for the situation for physical navigation. Yet they have presence, and somehow purpose.


 

Paddle by Justin Harrison


The artist's activity is one of compulsive repetition, not under the law of a market as a narcissist among narcissists, but to envelop in the work the generative force of the world. Qua other. Plastic pills https://www.youtube.com/watch?v=H13Unfk6UHs

It kinda gets obsessive, I try my hardest to make the marks consistent and always the same. It doesn’t work. But then I like that game.

The paddle feels somehow ‘held’ or suspended, and that if the marks were to disperse… so would the paddle.

Presence and place. Spectres manifested by the community.

For me the paddle has becoming a symbol of navigation and empowerment, a tool of implementing change. There is a deep desire to craft my own paddles in found wood, wrap them in leather and photograph them in place. But I have a lot of things pressing for my attention and it begins to block me.

I’m struggling to focus my attention, between thinking about my research paper, drawing, making. There’s a back log of work bits of sculpture I feel I need to finish to move on. Then there’s all the stick’s I’ve been obsessing over. I feel there should be a thread I can pull which will draw it all together. I also wonder about all the photography and writing that’s appeared in my Blog. (Although not for a while).

Somewhere there is a narrative in what I’m doing but it seems to elude me for now.


 

Cleansing by Justin Harrison


I had some time, so Iwent to the forest. I find it such a refreshing location to be in. Immersed in sea of tress and green. I find a place to be, to quiet myself.

I took my coffee pot - it’s a ritual. A place of prayer.

There is a clearing I favour, occupied by Oak and Holly. When I came upon it today it had litter and various bits of evidence human passage. It upset me, it felt very wrong. I cleared it as an act of cleansing and humility. Remembering that I make mess, literal and spiritual.

Some small works came…’little nothings’ - quick and unselfconscious. (More limited timed pieces). Playing with materials. Stripping. Stripping small branches of their bark The work seems overly simplistic, but then this is an exercise in me getting out of my own way, not censoring everything and realising what can come out of play. So much is serious and ‘oh so earnest’.

The drawing followed and I can’t decide which way it should go up, or where it should go. But I almost need to just get this stuff out of my head to make room for the following ideas. A cleansing. My head is full of stuff, it’s getting crowded.

Breathe.

I see the forest as a site of constant change and micro transformations. Growth and Decay. Transformation up and Transformation down.


 

Chest by Justin Harrison


I still want to make large scale drawings. The desire burns slowly at the back of my consciousness, something inside of me wants them to come into being, to exist. There is something to say.

The chest of draws and the ribcage have a connections through the ‘Chest’. In addition I like the chest of draws as a site, as vessel and an agent of …something I haven’t quite figured yet. So I draw. It’s a better place of meditation for me as I try to distill what all these ideas are leading to.

I do not the presence of vertical columns again.
”For from you are all things and to you are all things”’

I used a sepia ink and it doesn’t give the deep blacks I like, or the range of tone. I’ll try agin with Indian ink and also with the Acrylic which granulates nicely but has less control.


 

'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’


 

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.


 

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


 

In solution by Justin Harrison


Particle dispersion in solution.

Everything is divisible.

Every idea

Every thought

Every belief.
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Questioning how I question my questions

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


 

Matthew Barney by Justin Harrison


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

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

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

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

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

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

Hmmm I guess I do like his work then.

Currently Reading///

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


 

Imaginary Bundle 2 by Justin Harrison


Feels good to complete but feels incomplete///

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

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

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

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

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