Into Paradise: Conductor, XIX How memory holds the present together, how then and now are both wove from similar but also shape shifting, gender/genre defying cloth, Joann Harrah works the poetic borderlands of historical narrative, bloodline filmstrips of familial filiation opened to their own internal possibilities, neural plasticity holding true both for our personal identity and the stories of our past, set loose from traditional traps and placed onto more creative, open terrain. As Harrah says, "the past is anything but a definite and stable history." Breath of life is the artists' real power, clay inert without the many voices that we bring into the world. We are the teller of stories, the book didn't precede us and is by no means finished, some chapters ought be filled in by possibility and the unknown. Fashioning herself sometimes as woman and sometimes as man, Joann opens up question marks that, while set in the period of the 30's, open up lines of flight/possibility in our own present moment as well. Creative disruptions in the visuals of tradition hint at the possibilities that inhere in every body and every life-telling. The roots of the family and universal tree are acknowledged and complicated, and the worlds dipped into, like pools of water, show many forms slightly altered just enough to let something else through. AHC: What has your own personal evolution towards a life in art been like, are there a series of moments you can recall where this path, this calling, began to become the one clearly marked for you? Joann: I’ve always had a proclivity for craftsmanship and using tools and materials. I was taught by my grandmother and mother to embroider before I was school age, and I was always curious about hand tools and how to use them. I’ve never been bound by particular materials, and when I got a little older I learned of artists who move freely between different forms of expression and materials. Through some of these artists I could see the conceptual nature of art and the importance of the psyche of the artist. I then realized that through making art I could pursue my interests in stories, history and psychology. from "Into Paradise" AHC: Could you explore and expand on some of the motivating ideas at work in your art and the process behind the making of them? How does the idea for you begin and what does its evolution look like during the stages of its development? I love your idea of finding an inventive way to describe personal biography, a lot of your work is profoundly tied into narratives of family history, place and memory. Is there a correlation for you in how our minds constantly rework every memory that we have, changing cognitive markers infinitesimally each time scenes are revisited in our heads, to this inventive way of narrating personal biography that is at work in your art? Would you say memory itself is a type of poem? Joann: I would say, yes, there’s definitely a correlation. I retrace my life’s narrative through art. But in that retracing sometimes the lines grow thicker or they languish, sometimes the paper or plane I’m working on is transparent and sometimes it’s a little cloudy, and sometimes I’m able to make connections between those cognitive markers I wouldn’t have been able to make months or maybe years ago. I think I often see the the actual building of a new piece, using physical materials (even if that physical material involves a camera and photo paper), as forming a visual habitat for those narratives. Long before I’m building, I’m collecting information and observations. I always keep a sketchbook, I have a shelf full of old sketchbooks, all carefully dated. And while I do often need to sketch out something through drawing, I’m mostly writing in them. I’m taking notes and finding relationships among ideas. This writing can be inspired from anything: films, art theory I’m reading, a panel discussion I went to, or maybe something my father said to me. And as a result my studio practice has roots in all these varied areas. I also work on several projects at once, so I think that influences my process, too. Sometimes the pieces are bouncing ideas off one another. Working on one piece will bring about an idea that I want to use for another piece. I love your suggestion that memory is a type of poem. I admit that I never thought of memory in that way before, but I do consider my work poetic in nature and expression. “iv”, from the series “A Parallel World” AHC: Who are some of your artistic influences? Is there anyone outside of the art world who has had a huge impact on you and your work or who just generally inspire you on some level, writers, filmmakers, comedians, musicians etc? Joann: The neurologist and author, Oliver Sacks, was an early and noteworthy influence on the direction of my work. When he writes case studies of former patients he often describes the relationship between memory, identity, and narrative, saying that, “each of us constructs and lives a ‘narrative,’ and that this narrative is us, our identities.” I love the films of Terrence Malick. His films describe a world in which there is a lot that doesn’t deserve our admiration, and yet, it’s still okay to enjoy beauty, and to be in awe of the bigger picture or larger narratives. His films often depict the clumsiness with which one person loves another person, and the profoundness of that, all while they inhabit a much larger landscape. These landscapes or architecture position the characters in a broader place and time. from "Into Paradise" AHC: What do you consider, personally, to be the most sacred and enduring aspects of art? How does it enrich our world and our cultural memory? How has it enriched or altered your own life? In your opinion, what does art, at its finest moments, bring into the world that would otherwise leave us more impoverished without it? Joann: Art is a part of our humanity that can be savored. I believe the dialogue surrounding art is powerful and often necessary. It can be a crucial part of living an examined life. I think art tells us a lot about history and from where we have come. I think this has become more recognizable as media and information has become more accessible. It’s important to know our history, it can tell us a lot about where we are now. On a very personal note, making art helps me make sense of life and my observations, or what I have witnessed. from "Into Paradise" AHC: What is the first work of art you encountered that took your breath away, that lit a fire in you? Joann: There’s been so many, I don’t think I can name just one that was the first and most empowering. I’ve been captivated and energized by the work of Mary Kelly and Louise Bourgeois, but I’ve also been deeply moved by films, poems, and novels. “xvi”, from the series “A Parallel World” AHC: Do you have any words of advice or encouragement for young artists and other creatives who are experiencing self-doubt in their art, frustration or blocks? What are the types of things that have helped you to move past moments where you may have become stuck creatively? Joann: I often tell people to just keep doing, keep making. It sounds too simple, but it’s not, because if you keep doing work you will eventually run into questions that need answered, and you’ll run into some of the answers, too. These questions will give impetus to a body of work or a new piece. Sometimes it can be hard for young artists to juggle responsibilities. Making art is a privilege that takes time and space. But I find that focusing on progress helps. You may not have all the answers to juggling these responsibilities while making room for art in your life, but if you’re making progress and getting better at it as time goes on then you’re doing okay. I also think solidarity among artists is important, especially women artists. "Into Paradise: Conductor, XVIII"
AHC: Do you have any upcoming exhibits or new projects you'd like to tell people about? Joann: I’ve started a new series of pieces, small wooden frames and structures that form an architectural space for more stories. They’re intimate and poetic, and I’m really very excited about them. I’m looking forward to finding a venue in which to share them in the future. Comments are closed.
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