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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About

Artist Statement

My work explores natural forms, patterns of flow and metamorphosis. I set up a real/unreal situation, exploring our physical response to the natural world and the suggestion of narrative, metaphorical or mythological associations. I am interested in the visual hybrid - the transformation that happens when two seemingly unrelated forms combine to invoke a new experience. I search for connections, invite reverie, and try to find the play between the physical and the emotional.

About Joan

Joan Harmon received her Bachelor's Degree of Fine Arts from the California College of Art, and her Master's of Fine Arts from Rutgers University. She has received awards from the Florence Italy Biennial, PS1 Museum of Contemporary Art, and an International competition curated by Barbara Haskell. Joan Harmon's studio is in Haverstraw, NY and she exhibits nationally and internationally. She is currently president of the non profit, artist-run Phoenix Gallery in Chelsea, NY. Harmon teaches at the City University of New York, Ramapo College of New Jersey, and New York University at La Pietra, Florence, Italy.

Exhibitions

2009    "Vessels", Phoenix Gallery, New York, NY - Solo Exhibition      
	  "Fluidity and Fragments", Phoenix Gallery, New York, NY - Three Person Show 
2008    "Peekskill Project", Hudson Valley Contemporary Art Center - Group Exhibition
	  "50th Anniversary Exhibition" Phoenix Gallery, New York, NY - Group Exhibition
	  Eric Laxman Gallery, Garnerville, NY - Group Exhibition
2007    "New Members Show" Phoenix Gallery, New York, NY - Group Exhibition
	  River Stone Arts Gallery, Haverstraw, NY - Group Exhibition
	  Sioux Falls Sculpture Walk, Sioux Falls, SD - Sculpture Park
	  Phoenix Gallery, New York, NY - Group Exhibition
2006    Court Gallery, Ben Shahn Center, William Patterson University - Faculty Exhibition
	  Net Gallery, Florence, Italy - Group Exhibition
2005    Biennale Internazionale Dell'Arte Contemporanea, Florence, Italy - Group Exhibition
	  Rockland Center for the Arts, West Nyack, NY - Sculpture Park
	  Kingston Sculpture Biennial, Kingston, NY - Group Exhibition
2004    Rockland Center for the Arts, West Nyack, NY - Sculpture Park
	  Rockland County Day School - Sculpture Park
	  Hopper House Art Museum, Nyack, NY - Installation
2003    Islip Art Museum, Islip, NY - Group Exhibition
	  GAGA Gallery, Garnerville, NY - Installation 
2002    Brooklyn Pier Show, BWAC - Group Exhibition
2001    Ramapo College, Mahwah, NJ - Adjunct Faculty Exhibition 
2000    Hopper House Art Museum - Two Person Exhibition
	  Studio Four West, Nyack, NY - Group Exhibition
1998    Bristol Art Museum - Group Exhibition 
	  Cork Gallery, Lincoln Center, NY - Group Exhibition
	  Rockland Center for the Arts - Group Exhibition
1997    93 South, Nyack, NY - Two Person Exhibition

Contact

Please feel free to inquire about prices, or simply leave a message at harmon_joan@yahoo.com.

Galleries

Sculpture
- 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.
- 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
- 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.
- Paraselsus
  - 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
Drawing
- 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
- Submerged
  - Diameter - 6'
  - Materials - cement, plexiglass, water, light
- Submerged - detail
  - Diameter - 6'
  - Materials - cement, plexiglass, water, light
- 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.