Artistic Beliefs
CREATING A WORK OF ART is like eating a hot-fudge sundae - its flavors swirling intensely in my mouth, the sweetness caressing my tongue, the milk of the ice cream coating my teeth, the flavors teasing my throat. In sum, creativity is an addictive process. As in a romantic Schumann symphony filled with emotional themes and as in a succulent hot fudge sundae, my desire to create leads me to anticipate designs which are fixated on color, texture, flow, contrast, drama – all of which become a collage in my art of uplifting flavors waiting to be discovered.        A good piece of art for me is one that absorbs my focus for a time during which my mind revels in translucent colors, movement, drama, in the subtle ideas that appear unexpectedly delicious. Just as I can be absorbed into the rhapsody of classical music, I want my images to dance, continually unfold, and reveal hidden nuances. I want my colors’ unusual juxta- positions to not only bathe but seduce the viewer.        My work begins with simple images - images of  flowers, vistas, clouds, sunsets, sunrises, lakes, streams, glaciers, storms, textures of nature – but especially from one image whose setting, color, or drama begs for expressive manipulation. I take pleasure in discovering those images that by themselves or that in combination with others will form the basis for a work of art or a series of creations for a series. In production, I might produce as many as ten variations using the image as a theme – but of these, only one variation will be printed on canvas and framed for each image size I plan to generate. It is odd that in my medium, one would expect many copies to be made; but working against general expectations, I print only one certified image per each size of frame I plan to produce and then permanently retire the image. One characteristic aspect of my finalized work is reflected in an upward movement that tends towards subtle interruptions that lead the eye back to other discoveries of color, texture, and shadow. Other aspects of my images include colors that pulse, shadows that drive colors to the viewer, and the illusion of three-dimensional texture that invite the viewer to touch the canvas.       For me, the highlight of my creative process becomes the first time I lay my eyes on a printed image that up to then had been on a computer monitor to witness the finality of the focus of color saturation, of hue manipulation, of image bending and
twisting, of layer beveling, of image sharpening and highlighting, of texturizing, and of forming the liquid translucence that I married to the image. The end product is an image intended to induce the viewer to want more as if locked in a transcendent experience formed from my world interpreted in emotional wonder – for inspiration, of serendipitous discovery, and in reverence.         As I was infected with the power found in shafts of light upon a stage, I now find my art evolving in new images that still reflect my experiences in theater at UM- Minneapolis – the thirst of emotional hunger, color, drama, and movement.       Most of my work is now focused on creating a series of as many as 12 images on a theme or a new discovered process. I developed a series using a manipulated rose as a fire source superimposed on various textured images. With the permission of photographer PJ Boylan, I extracted derivative blobs from one of her botanical garden photographs and inserted them into a watery kelp series.        In a two-month burst of creativity free from abstraction, I created a series of 80 unique miniatures of flowers each with its translucent colors, light source, and drama.   During one summer, I immersed myself into a project where I flatbed scanned a collection of toothpick starbursts from my college days into a series using a variety of layered images. I am also experimenting with images where recognizable architectural landmarks are reduced to a skeleton than layered over pictures from the Hubble Telescope.  I have also produced miniaturized variations of older works that I set on ceramic and stone tiles then cover with epoxy resin.       My current series begun in 2011 highlights my mountain experiences and a rediscovery of my huge slide collection amassed during that time.  From more representative forms of expression to very stylistic techniques, my current series in one of discovery and surprise.  I take an celluloid image and unveil perspectives new to me. - david harrison -
Home       Home Home       Home Marshmallow Butte  (17" x 21")   Mountain Impressions Series. Varnished giclee on canvas stretched on 1/2" foam core. Custom framed within painted oak. Double Rainbow (8" x 8")  Shadow Box Series. Giclee on textured fine art paper. Framed in extruded metal having its matte raised above the image.