If you're an artist, what kind of art do you make?
About my artwork
A Rough Cut
Galvin Harrrison’s new sculpture works literally appear to have morphed out of his recent
drawing and painting into the third dimension, through an artistic process seemingly both
logical and radical.
As usual, Galvin Harrison’s shows a meticulous command of his medium. The sculptures
are remarkably beautiful composites of black iron hovering over white backgrounds,
ambiguous or even elegiac in their fragmented states.
The different sculptures make up a stunning typology, when seen as a whole.
The similarities and differences are apparent as the eye oscillates and engages the
compositae of broken shapes and shadow play.
While Galvin Harrison’s sculptures are directly related to his own paintings they point
beyond themselves and invite us to reflect at length about their position in the history of
art. The sculptures remind us of Franz Kline’s edgy black and white paintings and
Robert Motherwell’s obsessive “Elegy to the Spanish Republic” suite.
It is also possible to view Galvin Harrison’s sculptures as architectural studies, energised by
a simultaneous resolution and dissolution of form and henceforth function.
The American artist Robert Smithson’s seminal essay “A Tour of the Monuments of
Passaic...1967” comes to mind as an interesting point of departure to further discuss this
dichotomy. Smithson took a trip into the post industrial terrain of his native New Jersey.
Here Smithson subverts the romantic idea that time creates ruins and suggests instead,
that the cheap new commercial and residential buildings rise to be instant ruins - ruins in
Galvin Harrison’s sculptures are manifestations of precisely that ambiguous space of the
half broken or half built structure.
Interestingly, Galvin Harrison’s black surfaces have a stage-like appearance, with all the
possible social and political associations that we can think of.
A most fitting metaphor for a contemporary work of art by a very important artist.