THE GRAVEYARD PROJECT / Stockade Sculpture No. 3
for  Alshejaiya   الشاجعية

https://obliteratedfamilies.com/en/
http://www.oceansofinjustice.com/

Had we not hidden our crimes so well, so deep, and with so much propaganda “deterrence” rhetoric, it would perhaps be easier to believe our sincerity. On the other hand, when those crimes are exposed for what they are, it also becomes impossible to justify our moral righteousness. Indeed, as the world media became much more instantly transparent, the reality of our crimes became impossible to hide – so we put an extra focus on propaganda – to twist it all into “self defense”.
We indiscriminately shelled houses and leveled neighborhoods in Gaza, for “self-defense”. We torture children, for “self-defense”.
Let’s just say it outright: We torture and terrorize the hell out of Palestinians in order to deter them and make their lives so miserable so they will want to leave – or to revenge, which will justify our next blow.
We have created a monster. Who on earth would want to “survive” if this is how “survival” looks? How vile is this “survival” which maintains itself upon the death and destruction of “others”? Indeed, who are those “others”? Are we not really the “others”, who came with our “better knowing” culture to “make the desert bloom”? And as this desert “blooms” with yet another settlement, another fictitious “military zone”, another “expansion” – the people who are there, the “others”, are gradually removed, encircled, or killed.

Jonathan Ofir, Israeli musician, conductor and blogger / writer based in Denmark.



Stockade Sculpture No. 3

THE GRAVEYARD PROJECT / Stockade Sculpture No. 2
for Bani Suheila - بني سهيلا

https://obliteratedfamilies.com/en/
http://www.oceansofinjustice.com/

Had we not hidden our crimes so well, so deep, and with so much propaganda “deterrence” rhetoric, it would perhaps be easier to believe our sincerity. On the other hand, when those crimes are exposed for what they are, it also becomes impossible to justify our moral righteousness. Indeed, as the world media became much more instantly transparent, the reality of our crimes became impossible to hide – so we put an extra focus on propaganda – to twist it all into “self defense”.
We indiscriminately shelled houses and leveled neighborhoods in Gaza, for “self-defense”. We torture children, for “self-defense”.
Let’s just say it outright: We torture and terrorize the hell out of Palestinians in order to deter them and make their lives so miserable so they will want to leave – or to revenge, which will justify our next blow.
We have created a monster. Who on earth would want to “survive” if this is how “survival” looks? How vile is this “survival” which maintains itself upon the death and destruction of “others”? Indeed, who are those “others”? Are we not really the “others”, who came with our “better knowing” culture to “make the desert bloom”? And as this desert “blooms” with yet another settlement, another fictitious “military zone”, another “expansion” – the people who are there, the “others”, are gradually removed, encircled, or killed.

Jonathan Ofir, Israeli musician, conductor and blogger / writer based in Denmark.



 Stockade Sculpture No. 2

THE GRAVEYARD PROJECT / Stockade Sculpture No. 1
For Beit Hanoun - بيت حانون

https://obliteratedfamilies.com/en/
http://www.oceansofinjustice.com/

Had we not hidden our crimes so well, so deep, and with so much propaganda “deterrence” rhetoric, it would perhaps be easier to believe our sincerity. On the other hand, when those crimes are exposed for what they are, it also becomes impossible to justify our moral righteousness. Indeed, as the world media became much more instantly transparent, the reality of our crimes became impossible to hide – so we put an extra focus on propaganda – to twist it all into “self defense”.
We indiscriminately shelled houses and leveled neighborhoods in Gaza, for “self-defense”. We torture children, for “self-defense”.
Let’s just say it outright: We torture and terrorize the hell out of Palestinians in order to deter them and make their lives so miserable so they will want to leave – or to revenge, which will justify our next blow.
We have created a monster. Who on earth would want to “survive” if this is how “survival” looks? How vile is this “survival” which maintains itself upon the death and destruction of “others”? Indeed, who are those “others”? Are we not really the “others”, who came with our “better knowing” culture to “make the desert bloom”? And as this desert “blooms” with yet another settlement, another fictitious “military zone”, another “expansion” – the people who are there, the “others”, are gradually removed, encircled, or killed.

Jonathan Ofir,  Israeli musician, conductor and blogger / writer based in Denmark.



STOCKADE SCULPTURE No.1  for Beit Hanoun - بيت حانون

Edit

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 24
(  Alcazaba  )

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy : http://sturiale.it/khalifasturiale-projects/



Mausoleum Sculpture No. 24

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 23
( Dalsjö / Mahnfeldt Sculpture )

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy : http://sturiale.it/khalifasturiale-projects/


Mausoleum Sculpture No. 23

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 22
( For Vincent Broadbery )

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy : http://sturiale.it/khalifasturiale-projects/


Mausoleum Sculpture No. 22

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 21
(For Paolo Sturiale)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy : http://sturiale.it/khalifasturiale-projects/



Mausoleum Sculpture No. 21

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 20
(Båring Vig / Zacharias Sculpture)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy : http://sturiale.it/khalifasturiale-projects/



Mausoleum Sculpture No. 20


THE GRAVEYARD PROJECT   -   Mausoleum Sculpture No. 19
(Odsherred / Boberg Sculpture)

  THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text;  `GRAVEYARD – a navigational Instrument?´  Sandy Thornland, Roskilde, Denmark 2014.
Courtesy :  http://sturiale.it/khalifasturiale-projects/

Mausoleum Sculpture No. 19

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 18
(For Pavlos Harrison Zacharias)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy Khalifa + Sturiale Projects.



Mausoleum Sculpture No. 18

THE GRAVEYARD PROJECT - Mausoleum Sculpture No. 17
(For the lost sons and daughters of Beit Hanoun)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´ Sandy Thornland, Roskilde, Denmark 2014.
Courtesy Khalifa + Sturiale Projects.


Mausoleum Sculpture No. 17


THE GRAVEYARD PROJECT   -   Mausoleum Sculpture No. 16
(St. Havelse / Zacharias Sculpture)

  THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text;  `GRAVEYARD – a navigational Instrument?´  Sandy Thornland, Roskilde, Denmark 2014.
Courtesy Khalifa + Sturiale Projects.




Mausoleum Sculpture No. 16

THE GRAVEYARD PROJECT / Mausoleum Sculpture No. 15
(For the lost sons and daughters of Aleppo)

The work is based and inspired by a specific Kasimir Malevich sculpture entitled `Gota´
from the series of Architecton Sculptures that Malevich produced from 1923 -1928.


Courtesy :   KHALIFA + STURIALE PROJECTS




Mausoleum Sculpture No. 15

THE GRAVEYARD PROJECT
Mausoleum Sculpture No. 14
(For the very dear Gina Zacharias)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy : KHALIFA + STURIALE PROJECTS



Mausoleum Sculpture No. 14

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES
Mausoleum Sculpture No. 13 (For Baumann from Berlin)

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy : KHALIFA + STURIALE PROJECTS



Mausoleum Sculpture No. 13

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy : KHALIFA + STURIALE PROJECTS

 MAUSOLEUM SCULPTURES No. 12

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

.......... Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy : KHALIFA + STURIALE PROJECTS



MAUSOLEUM SCULPTURES No. 11

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

..........  Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text    `GRAVEYARD – a navigational Instrument?´
Sandy Thornland,  Roskilde,  Denmark  2014.

Courtesy :  KHALIFA + STURIALE PROJECTS

 Mausoleum Sculpture No. 10

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy Khalifa + Sturiale Projects.

 THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE NO. 9

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE NO. 8

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE No. 7

.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy Khalifa + Sturiale Projects.


THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE No. 7

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID


GRAVEYARD / MAUSOLEUM Sculpture Number #6
The work is based upon a specific Kasimir Malevich sculpture entitled `Gota´
from the series of Architecton Sculptures that Malevich produced from 1923 -1928.

.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy Khalifa + Sturiale Projects.

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE  No. 6

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.
Galvin Harrison’s sculptures do neither brag nor regret or complain. Each one neutrally states the outcome of its lifelong contemplations and struggles. In a quiet, pure and clear voice it commits itself to its work and result. GRAVEYARD does not suggest the final outcome of one’s life. The result of what one has done or not. It just might be seen as a navigational instrument. As in ancient Egypt, Anubis was said to weigh the hearts of the dead on a scale to see whether they had been good or bad, perhaps the Mausoleum Sculptures can be used to weigh the hearts of the living and to adjust our future actions according to the actual indications we find in our hearts when we try to imagine what our own life’s `stack sculpture´ might look like.

Excerpt from text; `GRAVEYARD – a navigational Instrument?´
Sandy Thornland, Roskilde, Denmark 2014.

Courtesy Khalifa + Sturiale Projects.

 GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE  No. 5.

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURE  #4



THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES

THE INDIVIDUAL GRID

.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.
Galvin Harrison’s sculptures do neither brag nor regret or complain. Each one neutrally states the outcome of its lifelong contemplations and struggles. In a quiet, pure and clear voice it commits itself to its work and result. GRAVEYARD does not suggest the final outcome of one’s life. The result of what one has done or not. It just might be seen as a navigational instrument. As in ancient Egypt, Anubis was said to weigh the hearts of the dead on a scale to see whether they had been good or bad, perhaps the Mausoleum Sculptures can be used to weigh the hearts of the living and to adjust our future actions according to the actual indications we find in our hearts when we try to imagine what our own life’s `stack sculpture´ might look like. 

Excerpt from text;   `GRAVEYARD – a navigational Instrument?´
Sandy Thornland,  Roskilde, Denmark 2014.

Courtesy Khalifa + Sturiale Projects.

THE GRAVEYARD PROJECT / MAUSOLEUM SCULPTURES No.3

The Mausoleum Sculptures are a hybrid project that has been created as part of the much larger GRAVEYARD PROJECT which is an ongoing installation piece that has its roots in the STACK SCULPTURES that Galvin Harrison has been engaged in for the past ten years. The Mausoleum Sculptures will form the basis of a number of forthcoming exhibitions and appear courtesy of KHALIFA + STURIALE PROJECTS.

MAUSOLEUM SCULPTURES  Part 3

The Mausoleum Sculptures are a hybrid project that has been created as part of the much larger GRAVEYARD PROJECT
which is an ongoing installation piece that has its roots in the STACK SCULPTURES that Galvin Harrison has been engaged in for the past ten years. The Mausoleum Sculptures will form the basis of a number of forthcoming exhibitions and appear courtesy of KHALIFA + STURIALE PROJECTS. https://www.behance.net/GALVIN-HARRISON

MAUSOLEUM SCULPTURES   Part 2

The Mausoleum Sculptures are a hybrid project that has been created as part of the much larger GRAVEYARD PROJECT 
which is an ongoing installation piece that has its roots in the STACK SCULPTURES that Galvin Harrison has been engaged in for the past ten years. The Mausoleum Sculptures will form the basis of a number of forthcoming exhibitions and appear courtesy of  KHALIFA + STURIALE PROJECTS.             https://www.behance.net/GALVIN-HARRISON

MAUSOLEUM SCULPTURES  Part 1

GRAVEYARD PROJECT /Mausoleum Sculptures

THE INDIVIDUAL GRID
 
.......... Every stack must fit in its space, only given the same room as all the other stacks. Yet there are differences in the amount of materials, the opportunities given in a short or long lifetime. Some materials are used in a well ­planned manner, almost implying a spiritual enlightenment. Others are stacked in a chaotic way, seemingly not given enough time and passion to create something loveable or at least sympathetic. There is room for desire and ambition, justice and injustice, anger and bliss, tragedy and joy, and though we are not all given the same amount of resources, we can try to make the best we can of what we have in the period of time that we are given.
Galvin Harrison’s sculptures do neither brag nor regret or complain. Each one neutrally states the outcome of its lifelong contemplations and struggles. In a quiet, pure and clear voice it commits itself to its work and result. GRAVEYARD does not suggest the final outcome of one’s life. The result of what one has done or not. It just might be seen as a navigational instrument. As in ancient Egypt, Anubis was said to weigh the hearts of the dead on a scale to see whether they had been good or bad, perhaps the Mausoleum Sculptures can be used to weigh the hearts of the living and to adjust our future actions according to the actual indications we find in our hearts when we try to imagine what our own life’s `stack sculpture´ might look like.      https://www.behance.net/GALVIN-HARRISON
 
   Excerpt from text
   GRAVEYARD – a navigational Instrument?
   Sandy Thornland, Roskilde 2014.

GRAVEYARD PROJECT / Mausoleum Sculpture No. 5

The blue air still feels chilly, but there is a real chance that the sun will momentarily reach the graveyard with enough warmth to encourage a jaded winter soul to feel hopeful again. The long dark Nordic winter has reached its end and the sight and smell of Spring blossoms will soon be in the air once again.


Galvin Harrison - BLOSSOM SCULPTURES - Jægerspris Slot / Denmark

RENEGADE SCREEN is a joint venture started by Galvin Harrison and Kevin Broadbery working respectively in fine arts and photography. They have teamed up with Paolo Sturiale from Sturiale Contemporary Arts based in Italy and Humaid Al Bloushi of the UAE who will assist RENEGADE SCREEN in its quest to become a truly global concept. 

RENEGADE SCREEN #2

RENEGADE SCREEN is a joint venture started by Galvin Harrison and Kevin Broadbery working respectively in fine arts and photography. They have teamed up with Paolo Sturiale from Sturiale Contemporary Arts based in Italy and Humaid Al Bloushi of the UAE who will assist  RENEGADE SCREEN in its quest to become a truly global concept. 


RENEGADE SCREEN #1

In the winter of January 2006,the artist Galvin Harrison left the icy cold temperatures of Scandinavia for the more hospitable climate of California. A long standing invitation by a friend and colleague, the Californian artist Dana 'Marty' McCutcheon to travel to California and paint was accepted. Large canvasses were ordered, paint and various working tools were procured, accommodation provided, and at the tail end of January  Galvin Harrison was collected from San Francisco airport and driven to Berkeley. The studio provided was located on 2571 Shattuck Avenue, a historical building with a strong attachment to Californian painting as the building had in its time provided studio space for the renowned Bay Area painters David Parks, Elmer Bischoff and Richard Diebenkorn. Over a period of several months, Galvin Harrison painted a substantial body of work largely inspired by the surrounding Bay Area and in particular the harbour area of the port of Oakland.This body of work has since been referred to as the 'Berkeley Paintings”
This new series of works on paper (D.N.T. / Diebenkorn Nordic Translations)  are related to my time in Berkeley, California and the period spent painting the series "The Berkeley Paintings". As previously mentioned the studio on Shattuck Avenues was for some time occupied by the highly esteemed and renowned West Coast painter Richard Diebenkorn. The new works on paper  are paraphrases inspired by his work that incorporate elements of the Nordic landscape and reflect upon form, colour and light.



D.N.T. / Diebenkorn Nordic Translations  Part 3

The one distinct useful pastime that derives from a lengthy train journey is the opportunity to think. Apart from the all too numerous ticket checks en route, most the time is spent in a thought process that is synchronised to the stop/start rhythm of the trains engine. It is a journey that is made for contemplation. One could for instance contemplate that taking the train was for many years in the early part of the 20th century the only viable means of traveling between Paris and the northern lands of Europe namely Scandinavia. This was also the `route of culture´, the chief protagonist of cultural progress, commonly referred to as the avant garde was assembled and created in Paris before wending its way to northern Europe at the early part of the twentieth century. 

(all works are gouache on paper)

 "Gare Du Nord" Works on Paper (part 2)


The one distinct useful pastime that derives from a lengthy train journey is the opportunity to think. Apart from the all too numerous ticket checks en route, most the time is spent in a thought process that is synchronised to the stop/start rhythm of the trains engine. It is a journey that is made for contemplation. One could for instance contemplate that taking the train was for many years in the early part of the 20th century the only viable means of traveling between Paris and the northern lands of Europe namely Scandinavia. This was also the `route of culture´, the chief protagonist of cultural progress, commonly referred to as the avant garde was assembled and created in Paris before wending its way to northern Europe at the early part of the twentieth century. 
 

"Gare Du Nord" Works on Paper (part I)

The second of a new series of works which are related to my time in Berkeley painting in the studios on 2571 Shattuck Avenue, a studio that was previously occupied by the highly esteemed West Coast painter Richard Diebenkorn. The new works are paraphrases inspired by his work that incorporate elements of the Nordic landscape and reflect upon form, colour and light. 

D.N.T. / Diebenkorn Nordic Translations  (Part 2)

This series of paper collage has numerous geographical references that stretch from North Africa and the Tangiers of Matisse to Scandinavia and the Oslo of Edvard Munch. If the paper collages have any geographical references then it is to the landscape and man made constructions that are to be found in Flanders and the Low Countries. An area of Europe that has played a prominent role in the military transgressions and endless ambitions of European lands. Flanders is not as such a regimented graveyard but can to my mind assume the role of an alternative form of graveyard, a sprawling land mass where the fallen still lie where they fell and become one with an historically sombre and poetic landscape that stretches as far as the eye can see and deeper that the imagination can fathom.

 A GRAVEYARD HYBRID PROJECT (Part 3) 

A GRAVEYARD HYBRID PROJECT (Part 2)

 This series of paper collage has numerous geographical references that stretch from North Africa and the Tangiers of Matisse to Scandinavia and the Oslo of Edvard Munch. If the paper collages have any  geographical references then it is to the landscape and man made constructions that are to be found in Flanders and the Low Countries. An area of Europe that has played a prominent role in the military transgressions and endless ambitions of European lands. Flanders is not as such a regimented graveyard but can to my mind assume the role of an alternative form of graveyard, a sprawling land mass where the fallen still lie where they fell and become one with an historically sombre and poetic landscape that stretches as far as the eye can see and deeper that the imagination can fathom.



A GRAVEYARD HYBRID PROJECT       (Part 1)

BLOSSOM SCULPTURES
The Blossom sculptures seem joyously indifferent to art history and appear to have no precedence other than Galvin Harrison’s own signature staging of lines and angles. When asked about this, the artist suggests that truly original art is born from honest intentions and speculates that an encounter in his youth with Mondrian’s early tree paintings and Cezanne’s Mt. Victo- ria suite are present as trace elements in the Blossom sculptures. The sculptures are based on a triad of per- sonal biography, site specificity and universal meta- phor that can make a work of art point beyond itself. Blossom celebrates the miracle of trees, perfectly poised and balanced their unseen root systems penetrate the life giving earth their branches and leafs stretching to- ward heaven, producing the oxygen all living beings are dependent on, homes to birds and insects. The subterranean minutiae unseen micro life - ancient stardust perhaps merging with the decomposing dead transforming slowly in the eternal cycle.

BLOSSOM sculpture/installation : Courtesy of Galleri Weinberger, Copenhagen  & Sturiale Contemporary Arts, Venice.

BLOSSOM SCULPTURES (part 2)

BLOSSOM SCULPTURES
The Blossom sculptures seem joyously indifferent to art history and appear to have no precedence other than Galvin Harrison’s own signature staging of lines and angles. When asked about this, the artist suggests that truly original art is born from honest intentions and speculates that an encounter in his youth with Mondrian’s early tree paintings and Cezanne’s Mt. Victo- ria suite are present as trace elements in the Blossom sculptures. The sculptures are based on a triad of per- sonal biography, site specificity and universal meta- phor that can make a work of art point beyond itself. Blossom celebrates the miracle of trees, perfectly poised and balanced their unseen root systems penetrate the life giving earth their branches and leafs stretching to- ward heaven, producing the oxygen all living beings are dependent on, homes to birds and insects. The subterranean minutiae unseen micro life - ancient stardust perhaps merging with the decomposing dead transforming slowly in the eternal cycle.

BLOSSOM SCULPTURES  (PART 1)

D.N.T. / Diebenkorn Nordic Translations

The second of a new series of works which are related to my time in Berkeley painting in the studios on 2571 Shattuck Avenue, a studio that was previously occupied by the highly esteemed West Coast painter Richard Diebenkorn. The new works are paraphrases inspired by his work that incorporate elements of the Nordic landscape and reflect upon form, colour and light. 

D.N.T.  (Diebenkorn Nordic Translations) part 1

The Graveyard suite is comprised of many individual components, light and luminous sculptures that came into their own in a dialectic with Galvin Harrison’s steel works. Graveyard however, is completely different. Where the former were presented as individual but related monuments – inducing twilight visions of architecture and industrial ruins – the latter is a collective whole, allowing a more gestural stream of consciousness to enter the process, fueled by the freedom and speed of working with lighter materials.


GRAVEYARD : new sculpture  "BARGHOUTI"  for the GRAVEYARD project.

GRAVEYARD : new sculpture  "For Frida"  for the GRAVEYARD project.

The Graveyard suite is comprised of many individual components, light and luminous sculptures that came into their own in a dialectic with Galvin Harrison’s steel works. Graveyard however, is completely different. Where the former were presented as individual but related monuments – inducing twilight visions of architecture and industrial ruins – the latter is a collective whole, allowing a more gestural stream of consciousness to enter the process, fueled by the freedom and speed of working with lighter materials.

GRAVEYARD : new sculpture "Pavlos" for the GRAVEYARD project

"STACK" sculpture models. A preliminary series of work contributing to the GRAVEYARD project.

STACK : SCULPTURE MODELS.

"STACK" sculptures produced in painted steel. The preliminary series of work to the GRAVEYARD project.

STACK : STEEL 

GRAVEYARD : individual elements of the GRAVEYARD installation placed in single, double and triple combinations that illustrate the visual flexibility and playfulness that are part of the GRAVEYARD project.art

GRAVEYARD : elements + variables.

Original Works on Paper. Part of the GRAVEYARD Project.

GRAVEYARD : Works on Paper

The creator of the GRAVEYARD project, Galvin Harrison and the photographer Jesper Helbo have entered into a joint collaboration in creating editioned series of photographs by using selected elements of the GRAVEYARD installation. The concept is in the initial stages and will be investigated digitally, with the objective of determining the final part of the process as analogue photographs.

HARRISON / HELBO : sculpture / photo collaboration for GRAVEYARD installation project.

 
Galvin Harrison is the creator of the project GRAVEYARD. The concept has it roots in the early welded steel sculptures created by Galvin Harrison. These sculptures originated as the artist sought to develop a 3 dimensional vocabulary that related to the very sculpture grid like series of paintings the artist has been making from 2005 onwards with the `BLAST, DECONSTRUCTION and STACK´ series of paintings. 
The sculptural elements of the installation were originally created as singular sculptural elements with the idea of them being viewed as individual sculpture pieces that were free standing. The only shared common factor was that the base of the majority of the elements would be of a pre-determined scale, 10 x 10 cm.

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