Joan Harmon
Joan Harmon is an award-winning sculptor, mixed media artist, and art professor working in the New York City area.
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Galleries
- Sculpture
- Molten River
- Dimensions - 60" x 10" x 4"
- Materials - wax and light
- Molten River (detail)
- Dimensions - 60" x 10" x 4"
- Materials - wax and light
- Vessels
- Height - 35"
- Materials - fired clay
- In this body of work, I am investigating one of my first loves - the malleability of clay - a connection to an ancient, primal way of making - desiring that moment of pulling something formed by hands from the fire, transformed into a solid form. The pure form of the vessels began to take on various human qualities, i.e., yearning or nurturing. Inside/outside space becomes important - the mystery of the inside space. The pieces became resonant sound amplifiers, and viewers were encouraged to actively listen to the sculptures as actual sound pieces or, more conceptually in "Auditory Vessel," the piece becomes a receptacle for secrets told.
- Suppliant
- Height - 35"
- Materials - fired clay
- Auditory Vessel
- Height - 35"
- Materials - fired clay
- Auditory Vessel (detail)
- Height - 35"
- Materials - fired clay
- Salvage
- Height - 42"
- Materials - fired clay, cast cement
- One definition of this word is, "...the act of saving anything in danger." The cast human fingers holding up the top piece of the broken vessel create a visual metaphor.
- Footed Pillow
- Dimensions - life-size
- Materials - ceramic, cement
- This piece is another hybrid piece - a contemporary version of an ancient Egyptian footed bowl - creating a humorous but poignant image of sanctuary or ritual.
- Footed Pillow II
- Dimensions - life-size
- Materials - cast glass, light
- This piece is another hybrid piece - a contemporary version of an ancient Egyptian footed bowl - creating a humorous but poignant image of sanctuary or ritual.
- Pia Mater
- Length - 60"
- Materials - fired clay
- This piece works with the concept of interdependency; clustering forms that speak to each other in relationship - nestling and supportive - aligned in a responsive way. Pat Hickman, Emeritus Professor of Art, University of Hawaii writes, "Harmon makes fired clay soft, pushing limits of what her material can convey. Her vessels speak in a gestural relationship, so life like."
- Pia Mater (detail)
- Length - 60"
- Materials - fired clay
- This piece works with the concept of interdependency; clustering forms that speak to each other in relationship - nestling and supportive - aligned in a responsive way. Pat Hickman, Emeritus Professor of Art, University of Hawaii writes, "Harmon makes fired clay soft, pushing limits of what her material can convey. Her vessels speak in a gestural relationship, so life like."
- Volute
- Height - 75"
- Materials - hydrostone
- The word Volute means an upward spiral movement. This piece is based on the shape that smoke takes when a particular note is played on the organ. To me it is a visual musical note.
- Spinal Column
- Height - 84"
- Materials - fired clay, wood, and metal spikes
- This piece references a recurring theme in my work - carnal architecture - bones and organs becoming architectural forms and architecture or furniture becoming landscape or body. The design of the spine allows the ability to stand erect and protects the spinal chord which enervates the being.
- Spinal Column (detail)
- Height - 84"
- Materials - fired clay, wood, and metal spikes
- This piece references a recurring theme in my work - carnal architecture - bones and organs becoming architectural forms and architecture or furniture becoming landscape or body. The design of the spine allows the ability to stand erect and protects the spinal chord which enervates the being.
- Untitled
- Dimensions - 32" x 18" x 10"
- Materials - tulipwood
- Inverted Riverbed
- Dimensions - 30' x 28" x 12"
- Materials - cement, sod
- Inverted Riverbed (detail)
- Dimensions - 30' x 28" x 12"
- Materials - cement, sod
- Rosebud
- Height - 11'
- Materials - pine
- Flames
- Dimensions - 7" x 38" x 36"
- Materials - pigmented cement
- The intense physiological vibration of the color red is constant. Fire and blood are the strongest references - elemental heat and life force. This piece is a symbolic fire - the idea of flames in a concrete form.
- Totem
- Height - 11'
- Materials - tulipwood
- Totem (detail)
- Height - 11'
- Materials - tulipwood
- Iron Spiral
- Height - 75"
- Materials - cast iron, cement
- Safe in My Own Skin
- Dimensions - life-size
- Materials - steel, light, cast paper
- Prickly Torso
- Dimensions - 16" x 17" x 9"
- Materials - wax
- Seated Figure
- Height - 70"
- Materials - black walnut, steel, cement
- Cobra
- Height - 60"
- Materials - black walnut, steel, cement
- Trophy
- Dimensions - 52" x 24" x 12"
- Materials - mixed media
- Phalanx Prima
- Height - 60"
- Materials - mixed media
- Ileum
- Dimensions - 60" x 45" x 6"
- Materials - mixed media
- Reliquary
- Dimensions - 36" x 18" x 6"
- Materials - mixed media with coal and moss
- The reliquary is a repository for sacred objects—the pieces in this series are providing sanctuary for materials and images that are perhaps endangered or resonate with personal experience.
- Reliquary II
- Dimensions - 32" x 32" x 6"
- Materials - horsehair, hydrostone, mixed media
- The reliquary is a repository for sacred objects—the pieces in this series are providing sanctuary for materials and images that are perhaps endangered or resonate with personal experience.
- Drawing
- Untitled
- Dimensions - 30" x 22"
- Materials - burned paper drawn with molten glass
- Untitled
- Dimensions - 30" x 22"
- Materials - burned paper drawn with molten glass
- Untitled
- Dimensions - 30" x 22"
- Materials - burned paper drawn with molten glass
- Untitled
- Dimensions - 30" x 22"
- Materials - burned paper drawn with molten glass
- Night River
- Dimensions - 120" x 24"
- Materials - oil on linen
- Bassin d'Arachon
- Dimensions - 34" x 44"
- Materials - charcoal on paper on canvas
- Southwest France
- Hudson River #1
- Dimensions - 11" x 59"
- Materials - charcoal on paper on canvas
- Bear Mountain to Manhattan Island
- Hudson River #2
- Dimensions - 17" x 59"
- Materials - charcoal on paper on canvas
- Bear Mountain to Palisades
- Hudson River #3
- Dimensions - 90" x 44"
- Materials - charcoal on paper
- Jones Point to Hook Mountain
- Hudson River #4
- Dimensions - 30" x 58"
- Materials - oil and gouache on paper on canvas
- Mystery Point to Hook Mountain
- Hudson River #5
- Dimensions - 12" x 64"
- Materials - oil on paper on canvas
- Bear Mountain to Manhattan Island
- Floating Black Form
- Dimensions - 23" x 30"
- Materials - charcoal, graphite
- Untitled
- Dimensions - 23" x 30"
- Materials - charcoal
- Footpath
- Dimensions - 23" x 30"
- Materials - charcoal
- Totem
- Dimensions - 16" x 22"
- Materials - charcoal
- Untitled
- Dimensions - 42" x 36"
- Materials - gouache
- Untitled
- Dimensions - 38" x 34"
- Materials - charcoal
- Stream
- Dimensions - 72" x 42"
- Materials - charcoal
- Embryo
- Dimensions - 22" x 16"
- Materials - pastel
- Untitled
- Dimensions - 60" x 48"
- Materials - oil on paper
- Ironheart
- Dimensions - 38" x 34"
- Materials - charcoal, oil
- Ritual Landscape
- Dimensions - 22" x 16"
- Materials - pastel
- Installation
- An Ocean We Call Sky
- Diameter - 6'
- Materials - cast cement feet submerged in water with projected clouds
- We walk the bottom of an ocean we call sky.
- Stream of Consciousness
- Dimensions - variable
- Materials - cast glass, mixed media, light, sound
- A child-size bed in a small field of grass with an illuminated cast glass stream-like form and pillow is in a darkened room. The sound element is of a child’s dream—children’s voices playing merging with sounds of the inner body.
- Stream of Consciousness
- Dimensions - variable
- Materials - cast glass, mixed media, light, sound
- A child-size bed in a small field of grass with an illuminated cast glass stream-like form and pillow is in a darkened room. The sound element is of a child’s dream—children’s voices playing merging with sounds of the inner body.
- Aftermaeth
- Dimensions - variable
- Materials - boat fragment, cast cement, cast paper, light, sound
- The inspiration for "Aftermaeth" is that moment after a storm when all is quiet in the wake of extreme violence. Our manmade world is rearranged and rewoven with nature's forces and a new charged moment experienced. Another reference is an excerpt from Herman Melville's Moby Dick, "The Lee Shore" which seemed to resonate with the sculptural moment I envisioned. Here is a small portion of the excerpt I have included in the aural aspect of the sculpture... "Glimpses do ye seem to see of that mortally intolerable truth; that all deep, earnest thinking is but the intrepid effort of the soul to keep the open independence of her sea; while the wildest winds of heaven and earth conspire to cast her on the treacherous, slavish shore?"
- Aftermaeth (detail)
- Dimensions - variable
- Materials - boat fragment, cast cement, cast paper, light, sound
- The inspiration for "Aftermaeth" is that moment after a storm when all is quiet in the wake of extreme violence. Our manmade world is rearranged and rewoven with nature's forces and a new charged moment experienced. Another reference is an excerpt from Herman Melville's Moby Dick, "The Lee Shore" which seemed to resonate with the sculptural moment I envisioned. Here is a small portion of the excerpt I have included in the aural aspect of the sculpture... "Glimpses do ye seem to see of that mortally intolerable truth; that all deep, earnest thinking is but the intrepid effort of the soul to keep the open independence of her sea; while the wildest winds of heaven and earth conspire to cast her on the treacherous, slavish shore?"
- Submerged
- Diameter - 6'
- Materials - cement, plexiglass, water, light
- The circle is an archetypal symbol of wholeness and infinity. Being underwater suggests weightlessness as well as not being able to breathe. The feet are traveling, but are on an endless journey.
- Submerged (detail)
- Diameter - 6'
- Materials - cement, plexiglass, water, light
- The circle is an archetypal symbol of wholeness and infinity. Being underwater suggests weightlessness as well as not being able to breathe. The feet are traveling, but are on an endless journey.
- Soles
- Diameter - 6'
- Materials - cast cement, sod
- Soles (detail)
- Diameter - 6'
- Materials - cast cement, sod
- Tree Dream
- Dimensions - variable
- Materials - installation with video projection
- The mythological reference to Homer's "Odyssey" is invoked with the bed being rooted to the earth, while the projection of wind on an illusionary sail invokes journey, adventure, and the unfettered freedom of the unconscious mind.
- Riverbed
- Dimensions - variable
- Materials - mixed media installation with light, movement, and sound
- Water holds a balance between extremes of solidification and evaporation, always retaining its possibilities of transformation. The river becomes the body, the vehicle for dreams.
- Riverbed (detail)
- Dimensions - variable
- Materials - mixed media installation with light, movement, and sound
- Water holds a balance between extremes of solidification and evaporation, always retaining its possibilities of transformation. The river becomes the body, the vehicle for dreams.
- Footpath
- Length - 60'
- Materials - site specific installation with life-size cast cement feet
- In this piece, I am setting up several inversions. A path emerges from a tree, leads to the water, enters the water, and disappears. The path is also visually the thing that is walking. The other inversion that interests me in this work is the exposure of the feet - that part of the human form that is rarely seen, except in more private, intimate situations. This vulnerable part of the body is now exposed and disconnected, and given a new relationship to the earth. The narrative that is suggested by these several hundred feet could also be that of an exodus or a crossing - the suggestion of humankind, instead of the individual.
- Footpath (origin)
- Length - 60'
- Materials - site specific installation with life-size cast cement feet
- In this piece, I am setting up several inversions. A path emerges from a tree, leads to the water, enters the water, and disappears. The path is also visually the thing that is walking. The other inversion that interests me in this work is the exposure of the feet - that part of the human form that is rarely seen, except in more private, intimate situations. This vulnerable part of the body is now exposed and disconnected, and given a new relationship to the earth. The narrative that is suggested by these several hundred feet could also be that of an exodus or a crossing - the suggestion of humankind, instead of the individual.
