Passage

Encombre In Autolysis /  by Justin Harrison

It’s as if the house began to consume itself. Autolysis.
The structure that was akin to a vessel or a body - is now aggregate.
I know some of the properties history, a grubby past that is hung upon darker secrets.
There is a little sadness with its passing, more relief.

The site has become passage and place at the same time. Khôra the space outside, a dumping ground and non space or ‘antiland’

What is Khôra? I need to define better.

Division  for generation?

 

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.

 

Gregory Crewdson /  by Justin Harrison

What I am interested in is that moment of transcendence, where one is transported into another place, into a perfect, still world.
Gregory Crewdson - https://gagosian.com/artists/gregory-crewdson/

I find it a little strange to be engaged in sculpture and abstract work, and yet of all the artists right now that I feel any affinity to would be Gregory Crudeson. I’m working through a list of a whole bunch of different artist in my research. However usually I only connect to one or two works of per artist and not so much the body of their work.

However with Crewdson I don’t get weary of his work. I find that there is a movie in one photograph, I find enough room in his work to wonder around. And then I discovered the above quote which feels akin to my preoccupations of the Passage and Place of transformation.

I feels like I am witnessing a slow decay in his images, the gradual reduction of a granular world to an exit of some form, either physical or existential. His work carries a romantic sadness that reminds me of ‘Flemish Game’ paintings but goes deeper.

I’m not sure exactly how he connects to the Derrida theory I’ve been reading but intuitively I feel like it’s there.

Also I’ve noticed of late how much I use photography in my blog that it is a natural part of my visual language. I think I should permit it some more space alongside the drawing and making. There is a piece I’d like to shoot that’s been lodged in my brooding, but I worry it’s just a cheap copy. However I’ll at least draw it out to explore it, maybe print it an I can decide on it’s virtue after that.

 

Caputo and Derrida /  by Justin Harrison

Just documenting and collating key quotes for research- don’t worry about reading unless you really want to….

leaking

overflowing

contaminating

Density of language

The granular

Khôra

Differance

Leaking

Atolysis

Emptying out

Container

Liminal

Thoughts

Transform

Passage

“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 communication across the borders; the problem in a quasi-transcendental philosophy is how to keep things from running into each other and contaminating everything. But a quasi-transcendental condition is a condition of or for entities, not an entity itself; a condition under which things appear, but too poor and impoverished, too unkingly, to dictate what there is or what there is not, lacking the power to bring what is not into being, lacking the authority to prohibit something from being. So différance describes the possibility and the impossibility of a language that addresses God, of positive, onto-theo-logical languages, like that of Thomas Aquinas, and the extraordinary languages of mystical theologians like John of the Cross, of mystical poets like Angelus Silesius, with all their paradoxes and paralogisms, detours and dissonances. Différance describes the languages of faith and prayer which, as Derrida's Work evolves, prove to be not just particular examples of language, but wemplary uses that exceed linguistic categorization and tend to coincide with language itself, to become the very yes, or amen, of language to what Is happening. That is why deconstruction is not ultimately neutral. Even diftrance describes the possibility and impossibility of the language in which God is coldheartedly denied by Hume of Bertrand Russell, excortpied by Nietzsche for all of It’s failings, or brushed off with a shrug by kon'y, who does not see why we need bother to talk like that,_Dilitance is altogether too meager and poor a thing to settle the quiete” Caputo Payers and Tears of Derrida p12-13

I wonder does Derrida provide the conceptual context for where transformation can occur - the passage way?

 

Making stuff /  by Justin Harrison

I glue some more battons together in the stack as it felt too light weight not enough presence, fiddle with a clamping system and revert back to string wrapping.

Then I turn my attention to the base plate - Ive been sanding it and start thinking about just the transformation the material from rough to finished - am I adding value or meaning? Can I also do this with copper too - I still want to draw on it. (I also realise I should have dipped it in water to raise the grain before adding some oil - but I got too excited by the material wanting to see its grain)

Still not sure about the direction of the sculpture stuff it seems too tight and controlled and unimaginative. I don’t feel excited about it. But I need to push on and make not worry.

I move on to a funny little piece started last time I was in the studio the tin batton pieces I’m following the idea that at times it’s good just to make and not overthink but let the art evolve. I’m undecided what exactly its about other than ‘an article’. A collection of physical sketches. I keep on rearranging it and get tired and just make a decision and glue it.

Ursula Von Rydingsvard has a collection of pieces called ‘little nothings’ a collection of smaller less self-conscious pieces. this seems like a helpful technique and I’m trying to fill my bench with quicker pieces whilst I settle with my practice.

Then because it’s been on my mind and in my drawings for a while I cut out a paddle from a fence panel. It’s crude, quick and dirty. But then. I am trying to make quick pieces too and to do it to my satisfaction would realistically take weeks. There is something satisfying seeing it in the physical, it represents something but needs to go under more transformation.

When mounting the paddle quickly on the wall to view it I place the ‘article’ next to it and something small happens that I like. A relationship strikes up between the two pieces it’s small and quiet but present non the less. I leave up and arrange the there current pieces to see them together.

There are various thoughts around the purpose of the paddle that I’m beginning to explore in sketchbooks also relating to the vertical poles.