Hosting
Joyce Campbell & Michael Harrison
Unexpected intimacy can make us feel uncomfortable and we look for
any signs of inhabitance as we enter spaces. The most fundamental
rationalisation of this awareness of personal territory is 'safety'.
We protect our 'personal space' through elaborate displays of ritualistic
avoidance. We experience personal dislike as physical repulsion
and gradualy grow to indicate trust through physical intimacy -
"share germs" with those we love. A fear of "infection" at once
dignifies our territorial instincts, and has provided a seamless
rationalisation for the least egalitarian of tribalistsic and nationalistic
atrocities.
While working in different formats, the work of both artists is
characterisied by an attention to the interelatedness of the social
and biological determinants of human interaction - with place, and
with each other. Hosting is the first public manifestation
of these mutual interests.
More fundamentally, the works are linked by a presumed relationship
between artist and viewer - one of personal investment.These are
confessional works, an admission of "dirtyness", psychological,
physical. In compromising the artist's privacy the viewer is invited
to pay the work the kind of intimate attention appropriate to the
private sphere, the uncalled for disclosure: I thought something
dirty, I had something dirty on me.
Hosting is an attempt to provide art viewers with a heightened
awareness of their territorial relationships with the environments
that they inhabit. In entering a space marked by another, the visitor
is presented with his or her own territorial responses, this momentary
self-conciousness creating an opening for shift; a site for potential
reassessment of notions of identity, fixity, exclusion and belonging.
Joyce Campbell
"mov(e) foward .....to a disturbing proximity that renders visable
the disgusting substance of enjoyment, the crawling and glistening
of indestructable life."
Swabs taken from the body, cultured, subcultured, isolated. This
project involves cultivation of the miriad of fungi and bacteria
symbiotically associated with zones of the human body, the artist's
body - the host. Agar plates, inoculated with isolates and then
incubated, develop into "transparences". These are photographically
exposed as ciba-chrome colour contact prints, the sanitised "aura"
of the body's most dangerous isolates. Their rich colour and subtley
aformal structures lend them to a reading of benign formal abstraction-
stained glass.
This work evidences the invisable traces human occupation. While
we might strive for the sanitary, it is forever evading us with
apparently entropic resistance. We will pollute the objects which
we use and the spaces that we occupy. Through the tracings of vapours
and fluids on surfaces our bodies reveal their presence. In their
substance they embody both threat and a stunning fecundity. Hosting
is an amplification of that exchange which accompanies the moment
of touch. The lip touches the glass, the swab touches the agar,
the culture plate contacts the paper. Made manifest through this
process is that element of the body which extends beyond the bounds
of the skin and yet continues to exert an influence on the world
- a living aura.
As the sanitised becomes sullied the customary sanctity of gallery
space is similarly compromised. By indicating physical residues
within an art work the invitation is for the viewer to engage with
gallery space as they might the space of another individual, demystifying
their relationship to work and reminding them that that relationship
is physical and psychical as much as it is intellectual.
Reviews, Essays & Articles
Break in transmission?
The Press, 1997 Aug. 13, p. 14
Feeney, Warren.
Hosting, Michael Harrison and Joyce Campbell paintings and photographs.
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