Matthew Harris Tim Rowan

Matthew Harris (b. 1966)

Matthew Harris’ work on paper has been shown in many group and solo exhibitions throughout the UK, Europe, Japan and the US. As drawings they are made to be seen in their own right but also to act as starting points or ‘cartoons’ for larger works that are made using dyed and painted cloth.

Working primarily from things seen, the drawings recall, interpret and explore imagery, improvising around a given theme.

Matthew Harris lives and works in Stroud, Gloucestershire.

Front cover:

Tim RowanVessel, 201233 x 33 x 33 cm(TR-0012)

All works by Tim Rowan are woodfired native clay, except the teabowls and cups, which are woodfired stoneware.

All works by Matthew Harris are mixed media on linen bound Japanese paper.

The exhibition will be fully illustrated on our website www.erskinehallcoe.com/exhibitions/matthew-harris-tim-rowan-2013/

Tim Rowan works photographed by Michael HarveyMatthew Harris works photographed by Peter Stoneprinted at SPM Printdesign by fivefourandahalf

© Erskine, Hall & Coe Ltd, 2013

Gallery Opening Hours: Monday to Friday: 10am-6pmSaturdays (during exhibitions only): 10am-6pm

Tim Rowan (b. 1967)

Tim Rowan was born in New York City and grew up in Connecticut along the shore of Long Island Sound. His art education began during college, receiving a BFA from The State University of New York at New Paltz before journeying to Japan for two years to apprentice with ceramic artist Ryuichi Kakurezaki. Upon his return he worked briefly in studios in Massachusetts and New York before receiving his MFA from The Pennsylvania State University.

In 2000 he established his kiln and studio deep in the woods of the Hudson Valley.

Matthew Harris Tim Rowan

You are invited to the Private ViewTuesday 19 February, 6-8pm

Exhibition continues 20 February - 20 March

15 Royal Arcade, 28 Old Bond Street, London, W1S 4SP

+44 (0) 20 7491 1706 | mail@erskinehallcoe.com | www.erskinehallcoe.com

Matthew Harris‘Archive’ III, 201235 x 59 cm(MH-0013)

I start by making a black ink drawing as quickly and spontaneously as possible, bringing together and condensing a number of visual references and ideas. This drawing is designed purely as a beginning, providing the bare bones of the images to come.

As a musician might improvise around a given theme, my hastily drawn ink image becomes a starting point or template for a series of images, each an improvisation or variation on the original.

I have very little idea of how each series of images might evolve beyond wishing to explore something I have seen and recorded at some point, perhaps a group of shapes or a quality of colour or mark. The making process is then very much about grappling with an image, of digging to find and recall something and of responding to that which is thrown up.

Working with pre-marked and prepared paper, using fragments sometimes carefully chosen but more often randomly picked, I work from the original ink template. By tracing and retracing areas of a drawing, working upside down and back

to front, playing with the relationship of one shape to another, folding and manipulating, my aim is to bring about something new and unexpected. Infinite variety from the same source.

The image is pieced together with individual fragments held in place with pins before being wrapped with a waxed thread. An image temporarily bound and held, always with the potential for change.

Archive series: The starting point for these drawings was an archival box full of Japanese paper ephemera. A collection of torn and squashed chop-stick packets, ancient paper prayers, creased woodblock prints and splashed and stained inky scribbles.

After Shide & Shide Fragment ‘Shide’ are the zig-zags of folded paper that hang at Shinto shrines to mark the boundary between the sacred and profane.

Matthew Harris

The works in this exhibition have all been completed over the past two years. They are made, primarily, from native clay. This is direct from the earth and unprocessed as opposed to industrially manufactured clay bodies. The forms are slowly constructed from layers, built up over days and weeks then carved. They are fired for seven days and nights in a wood fuelled kiln. No glaze is applied; the surface textures and colours are the result of the interaction of the clay, fly-ash, coals and fire.

I am constantly building on previous work – just as individual pieces evolve in the process of making, the body of work as a whole does as well. Most of my work develops from the process of making, firing, and arranging. While I may have images in my head of some specific things I have seen, for instance the remnants of an old quarry derrick abandoned in the woods near my home, once I start making, new forms emerge. There is a search and discovery.

I am particularly drawn to objects in various states of decay – either through use over time such as tools or the effects of the “elements”. Everything is in a constant state of flux. These are merely markers of a particular time and place.

It is only when I am fully engaged in the making – that the forms present themselves. There is an intuitive process of discovery – of wondering, of noticing, of

physically or intellectually feeling the forms. I work on many pieces at once to enable me to become lost in the process - freely moving from one form to another. There is a complete acceptance in the process. Faith. That is the guide. We work together, informing and reacting to each other.

There are four distinct series in this body of work. The sculptures are the most ambiguous and poetic for me. Drawn from a multitude of sources, industrial detritus, tools and abstracting the fragments of a vessel.

The vessels are rooted in more of a pottery vernacular. They are there to nourish. We are comforted. We have a sense of place.

The cups are individual intimate moments. Each one is a separate story. Held. Caressed. Nourishment. Life-affirming.

The boxes may be urns. Shelters. Forced to touch in order to experience the inside. Containment. Security. Protect me. What is revealed?

The blurry space between past and present, nature and technology, life and death. That is the interest for me.

Tim Rowan

Tim RowanVessel, 2012

35.6 x 33 x 33 cm(TR-0013)

This page:

Tim RowanSculpture, 2012

22.9 x 73.7 x 15.2 cm(TR-0005)

Opposite:

Matthew Harris‘Archive’ I, 2012

35 x 59 cm(MH-0011)

Tim Rowan

This page:Sculpture, 201240.6 x 45.7 x 30.5 cm(TR-0024)

Opposite:Sculpture, 201233 x 30.5 x 30.5 cm(TR-0016)

This page:

Tim RowanVessel, 201227.9 x 33 x 30.5 cm(TR-0014)

Opposite:

Matthew Harris‘Scattered Rhythm’ VII, 201230 x 42 cm(MH-0023)

This page:

Tim RowanSculpture, 2012

15.2 x 38.1 x 12.7 cm(TR-0019)

Opposite:

Matthew Harris‘Scattered Rhythm’ III, 2012

30 x 42 cm(MH-0019)

This page:

Matthew Harris‘Shide Fragment’ VI, 201229 x 21 cm(MH-0032)

Opposite:

Tim RowanVessel, 201235.6 x 27.9 x 30.5 cm(TR-0007)

Tim RowanBox, 201220.3 x 20.3 x 20.3 cm(TR-0025)

Matthew Harris‘Shide Fragment’ III, 2012

29 x 21 cm(MH-0029)

Matthew Harris

This page:‘Shide Fragment’ VIII, 2012

29 x 21 cm(MH-0034)

Opposite:‘After Shide’ III, 2012

22 x 28 cm(MH-0026)

Matthew Harris‘Shide Fragment’ VII, 201229 x 21 cm(MH-0033)

Tim Rowan:Vessel, 2012

25.4 x 22.9 x 20.3 cm(TR-0008)

Tim Rowan

Sculpture, 201222.9 x 40.6 x 12.7 cm(TR-0017)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0032)

Box, 201120.3 x 12.7 x 12.7 cm(TR-0004)

Teabowl, 201210.2 x 12.7 x 12.7 cm(TR-0038)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0035)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0036)

Teabowl, 20128.9 x 11.4 x 10.2 cm(TR-0040)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0034)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0031)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0028)

Cup, 20127.6 x 7.6 x 7.6 cm(TR-0029)

Tim RowanBox, 201225.4 x 22.9 x 17.8 cm(TR-0006)

This page:

Matthew Harris‘Shide Fragment’ I, 2012

29 x 21 cm(MH-0027)

Back cover:

Matthew Harris‘Archive’ II, 2012

35 x 59 cm(MH-0012)