Internal Objects and the Objectified Self

“Lacan revises and enriches the myth of Narcissus, so passionately in love with his image that he plunges into the water and is drowned.”[1]

Maurice Merleau-Ponty

Bathroom, (c)2011 Hayley Harrison
Bathroom, (c)2011 Hayley Harrison

The mirror holds peril. Revealing truths unwanted or enticing the loss of the self to an objectified world. The creation of our self-identity begins with how we respond to our image in the mirror in infancy. We either recognize the ‘other’ and begin the process of socialization or we retreat to find the maternal object and become locked in the death wish.[2] Psychoanalytical theory is of course more complex and involved than that simple description. But the significance in the simplified description is the relationship of self to object. We begin to understand we are an object which occupies space, distinct from others or we seek the comfort and reassurance of objects to satisfy our longing, beginning to see everything as an object available to satisfy us.

In Kleinian theory, the ‘internal object’ is “a mental and emotional image of an external object that has been taken inside the self. The character of the internal object is coloured by aspects of the self that have been projected into it. A complex interaction continues throughout life between the world of internalised figures and objects and in the real world…the state of the internal object is considered to be of prime importance to the development and mental health of the individual.”[3]

Her, (c)2011 Hayley Harrison
Her, (c)2011 Hayley Harrison

We are bound to objects as a means to understand the world, ourselves and the complex relationships we have throughout life. Any kind of exploration of self and identity must perforce include a discussion of objects. This ‘Me’ of Mine has delved into several aspects of this ‘object relationship’, through the work of Kate Murdoch and memory association with personal identity development, Annabel Dover and the complex personal codes and emotions imposed on objects, Cathy Lomax and objects which represent self-image and emotional states and now with the work of Hayley Harrison and her use of objects as an expression of an inner self:

“I think we have to be in the ‘right’ place both internally and externally and that’s when a conversation occurs. For me self-recognition through the external is experienced in its ‘purest’ form when we are here, now, rather than through our pasts or futures.  We can be taken off guard by something, something perhaps poetic that throws us into the present. Whatever that something is, we just have to come into relationship with it.  When we experience one of these rare conversations between the internal and external I believe we come back to ourselves, much like Jacques Lacan’s famous discourse with the sardine can. Ultimately within these moments we are looking into a mirror.”

Read more of my interview with Hayley, Speak Me Many Times .

Read past interviews with Kate Murdoch, Annabel Dover and Cathy Lomax.


[1] Roundinesco, Elisabeth, “The Mirror Stage: an obliterated archive” from The Cambridge Companion to Lacan, edited by Jean-Michel Rabaté, 2003, Cambridge University Press, accessed online  at: http://artsite.arts.ucsb.edu/~arts1a/outlines/The_Cambridge_Companion_to_Lacan.pdf , 25 June 2013

[2] Ibid.

[3] Melanie Klein Trust, http://www.melanie-klein-trust.org.uk/internal-objects ,accessed 25 June 2013

Joan Miro at Andipa gallery

Andipa Gallery is delighted to announce a selling exhibition of unique works and rare graphics by Joan Miro.

Taking place from 7 April to 7 May 2011 the show coincides with the first major London retrospective of Miro’s work for almost 50 years, The Ladder of Escape at the Tate Modern, and will offer a rare opportunity to acquire some of the finest original works by this master of 20th Century art.

The exhibition will show rare works on paper, including some of Miro’s 1965 Le Courtisan Grotesque series. Works described as displaying “the most genuine Miro, the one of the astral signs (and) symbolic objects… who uses his own mature language, without hesitations.” Daniel Giralt-Miracle (art critic and historian).

Miro’s most iconic and admired engravings, lithography and etchings will also be on display. Pieces will include the original lithograph Montroig 2, named after the Catalan village to which Miro felt a deep connection, returning to throughout his life, and which inspired some of his most seminal works. These highly sought after brightly coloured pieces make up an integral part of the artist’s oeuvre and demonstrate Miro’s expert use of carborundum to produce richly textural pieces that reflect the original qualities of painting.

Miro was among the most prominent of modern artists, developing a unique Surrealist language that expressed freedom and energy through its fantastical imagery, vibrant use of colour and free use of paint, often splattered across his canvases creating an explosive effect. The more political side to Miro’s work reflects the turbulent times of the Spanish Civil War and repression under the Franco regime. His works express and react to conflict, protest and political upheaval. In our current instable and uncertain times, perhaps this more restless and anxious aspect of Miro’s practice is at its most resonant.

Words from Andipa gallery

Something Lurking: The Shadowmen of Richard Hambleton

Richard Hambleton has been called the godfather of street art. He began producing what he called ‘public art’ in New York City in the 1970s.

He’s known for the black figures he first painted on the buildings of New York’s Lower East Side, which he called Shadowmen. The Shadowmen arrived in the early 1980s, and shocked many a denizen of that city who walked the streets at night. In 1981 and 1982 he populated the Lower East Side with these unnerving figures.

the-shadowmen-2-hambleton

A reclusive man, physically gaunt (somewhat creepy-looking himself), Hambleton had undertaken work of a similar bent before. In his Mass Murder project in the late 1970s, he drew crime-scene outlines of dead bodies on the street and had volunteers play homicide victims. Passersby mistook the installations for the aftermaths of real murders.

Both these projects spoke to the zeitgeist, as US urban crime panics shook the nation in those decades. The Shadow men would shock passersby, who often mistook them for shadows of real people, possible assailants. Many people who lived in NYC around that time have stories of the moment they were petrified by a Shadowman and these stories seem to be almost a badge of honour top the artist with a distinctly morbid streak. For Hambleton audience reaction was integral to the artwork itself.

The Shadowmen by Richard Hambleton | Art-Pie
Click to enlarge

He said:

“Other artists put their work on the city, but what I paint on the walls is only part of the picture. The city psychologically completes the rest. People experience my paintings. They aren’t simply exposed to them.”

His art was apparently inspired by the shadows left on the sides of buildings by victims of the atomic blast on Hiroshima. In an age of Cold War anxiety, perhaps his work pointed at the way people’s lives seemed to rest on a knife edge.

The Shadowmen drew in other urban artists, who daubed over the black figures with their own work. Indeed, Hambleton was not a lone wolf. With Keith Haring and Jean-Michel Basquiat, he was one of a legendary trio of New York artists at the forefront of the street art boom. The three regularly met to discuss their work with one another, and sometimes collaborated.

His work began to pop up all over the globe. Shadowmen even appeared on the Berlin Wall in 1984, when he painted 17 life-size figures on its eastern side. His Shadowman paintings have been documented by photographer Hank O’Neal.

Take a look at the gallery here: http://www.hankonealphoto.com/index.php/the-shadow-man

The Shadowmen by Richard Hambleton | Art-Pie

The Shadowmen by Richard Hambleton | Art-Pie

The Shadowmen by Richard Hambleton | Art-Pie

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This article was written by Sally Kirchell, owner of Blue Horizon Prints an Australian online canvas prints company offering cutting edge prints in a wide variety of styles from Street Art to Vintage Prints. They offer free delivery to the UK and Australia and deliver all over the
world

LUDO at Starkart gallery – La Belle Vie

We arrived in Zurich to find that the centre of town, near where we are staying is insanely upper class. Ferrari’s and Bentleys cruising the streets typically driven by what looked like teenage boys and the main streets lined with cafe’s filled with people wearing Gucci sunglasses laughing and sipping their cocktails.

It was not something that we were expecting and thought that it was extremely superficial, until we ventured of the beaten track in search of Starkart gallery that was hosting the LUDO solo show.

The neighbourhood that Starkart is located in is very culturally diverse and much more down to earth.

Starkart is one of the most understated spaces we have come across, set inside an old residence turned commercial space that gives no impression of what is happening behind the scenes.

The Ludo show is set over multiple rooms on two levels, it is a minimalistic show, with the works widely spread out to make use of the vast space provided.

The ground floor displays originals from his “nature’s revenge” series and the basement features two video installations of his work processes, from creation to installation on the street.

It really felt like urban exploration venturing into this show, moving from room to room, some brightly lit and others very dark with the sound of what seemed like a old French record echoing from the basement.

Check out the full set of Ludo pics here:

http://www.flickr.com/photos/chasingghosts/sets/72157626390493355/

STREET ART