Arts & Culture
Artist Megan Harrison on Creating a Crystal Cave in Southtown
Published: October 9, 2013
What is the relationship between the large sculptures in the lefthand room and your other works?
The relationship is mainly one of evolution (large to small). Moving back to the righthand room, the technique became more refined and precious. The two rooms next to each other remind me of tourist caves. After taking a cave tour, you visit a half-museum, half-gift shop where there are smaller specimens extracted from the cave, taken out of their natural environment and put into cases on little velvet pillows. I like the idea of carving something out, isolating it in order to highlight it.
I’m interested in the relationship between your geometric forms and the surfaces you describe through the inks’ natural movement. Can you discuss your painting technique further?
Although the movement of the ink is its own, I enjoy thinking about creating the specific environment required to allow the ink to move into a variety of self-organizing patterns. Because I completely saturated the paper, it was unable to absorb the ink at first. The ink moved across the surface pushed by water, current or wind. The contrast between the fluid forms of the ink patterns and the seemingly frozen structure of the crystals is aesthetically interesting, but it also opens up an interesting dichotomy. At what point is something still? How is our reading of something solid influenced by the timescale we have available to us in order to observe it?
6:30-9pm Thu, Oct 10
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Through Oct 13