Robert and Shana ParkeHarrison by Patricia Lanza

An American couple Robert and Shana ParkeHarrison’s effective artwork images embodies a world of surreal and symbolic imagery, the place Robert is the principle character. Their images have been displayed in over 45 solo exhibitions and over 100 group exhibits worldwide and their work can be present in over thirty-five collections, together with the Nationwide Museum of American Artwork on the Smithsonian Establishment, The George Eastman Home, The Whitney Museum, LACMA, and SFMOMA. Their ebook, the Architect’s Brother was named as one in all “the ten greatest images books of the 12 months in 2000 by the New York Occasions.”

“Our images supply visible poems of loss, human wrestle and private exploration with landscapes scarred by know-how and over–use. As collaborative artists, we try to hyperlink laborious actions, idiosyncratic rituals, and unusually crude machines metaphorically and poetically into tales about our modern experiences. We assemble elaborate units from discovered objects. Our scenes mix actual and constructed landscapes. These scenes have a way of dedication and irony whereas addressing mankind’s accountability to heal the harm inflicted on the atmosphere.

Staged photographs supply countless potentialities for exploration whereas providing viewers private interpretation. By permitting viewers to finish the story earlier than them, we enable company to take maintain inside them. We develop layers of duality, hope and despair, success and failure, want and distain, destruction, and stewardship. We discover the delicate human situation, and overarching shadow of environmental destruction. Maybe the one strive hope for the world and our human spirit rests in our means to think about.” ParkHarrison

 

Hyperlinks right here to web site: https://www.parkeharrison.com

 

Patricia Lanza: Your work focuses on the Anthropocene, the human impact on the earth. How did you come to make use of this as your theme and narrative?

ParkeHarrison: The Anthropocene, World Warming, Local weather Change, The Finish of Days, the Nice Reckoning, The Finish of the World as we Comprehend it. Within the early 1990’s when our concepts started to gel into elusive but cohesive imagery, these phrases weren’t even mentioned in media or in style tradition. It was a priority for a lot of scientists and lecturers however not the remainder of us. We have been in Graduate college in New Mexico. We have been two naïve youngsters from suburban midwestern households. Past being despatched to our rooms for failing to show off the lights through the Vitality Disaster, we had by no means even thought of Local weather Change. Our publicity to the beautiful uncooked fantastic thing about the New Mexico panorama, the compelling non secular practices and world view of the Hopi, together with different indigenous folks, and in addition to the overwhelming footprint of the US navy, industrial advanced (Los Alamos Nationwide Labs and White Sands/Trinity Web site) These components together with our tendencies towards performance-based images and our want to create artwork tied to objective, merged into photographs targeted on humankind’s habits towards the Earth.

 

Patricia Lanza: Your work is a collaboration, how did this come about?

ParkeHarrison: Our collaboration grew organically over a few years and lots of in depth conversations about artwork. We have been every in grad college for artistic endeavors. Our collaboration started as helping each other, and slowly grew/ merging our pursuits and technical tendencies.

 

Patricia Lanza: As co-creators talk about your course of within the growth and assemble of the images together with technically and content material?

ParkeHarrison: Our course of is layered with analysis, contemplation, and experimentation. Our photographs present a confluence of considerations and topics that curiosity us together with:

Politics, human habits, theater, dance, faith, literature, movie, atmosphere subjects, science, metaphysics and on and on. We usually start new work by trying again at previous work: how concepts labored as photographs, how they failed to completely embody our intent. We mix this data with subjects of curiosity. From there we start researching in a Butterfly impact kind of course of. Concepts take us down rabbit holes the place we discover new pursuits. All of this looking results in drawings. Drawings result in the combination of props, usually primarily based on discarded supplies and debunked devises. We then play with these objects, usually inventing new functions for

previous machines. We start testing photographs within the panorama and experimenting with potentialities past our preliminary concepts. Lastly, we {photograph} photographs to be mixed in both the darkroom or inside photoshop. As soon as the pictures are printed they aren’t essentially full. Typically they are going to be painted to reinforce/encase them.

 

Patricia Lanza: You illustrate the theme in a surreal world filled with symbolism. The place do you draw your inspiration?

ParkeHarrison: It could be nice to stroll within the retailer to the isle of inspiration! Making artwork takes each day apply, a honing of 1’s expertise and a relentless inquisitive nature. We draw inspiration by fixed focus.

 

Patricia Lanza: What or Who’re your influences?

ParkeHarrison: Cultural and environmental writings, theater, movie, dance, faith, politics, literature. Artists that come to thoughts at the moment:   Invoice McKibben, Gabriel Garcia Márquez, Robert Wilson, Joseph Beuys, Andrei Tarkovsky, Wim Wenders, Louise Bourgeois, Pina Bausch, Ohad Naharin and so many extra!

 

Patricia Lanza: How can and does the creation of ART have impact on vital points? What are you hoping for in yours?

ParkeHarrison: Visible artwork usually entails the person viewer forming his/her/their very own interpretation of the paintings they’re partaking. We try to create work that asks questions, work that permits the viewer to enter and kind their very own story, and private that means. We create work that’s influenced by the philosophy of Joseph Beuys.
He believed artwork has the power to advertise change. By permitting viewers to have interaction freely throughout the world we create, viewers discover their objective and their response to the subjects we communicate to, most notably atmosphere motion.

 

Patricia Lanza: Focus on your newest photographic sequence and exhibition?

ParkeHarrison: We lately accomplished a small sequence of photo-lithographs titled, RED SUN. These photographs are pretty easy of their building when in comparison with a lot of our work. Every print incorporates the remoted determine, the protagonist, partaking in actions, with Pink interventions. Whereas this was speculated to be a small suite of photographs we have been impressed to proceed this work involving interventions. At the moment we’re experimenting with concepts involving photographic imagery and sculptural elements.

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