http://harlierush.com Harlie Rush Sat, 16 Feb 2013 17:23:35 +0000 http://harlierush.com en http://harlierush.com/Cooper-Union-Home-Test http://harlierush.com/following/harlierush.com/Cooper-Union-Home-Test Sat, 16 Feb 2013 17:23:35 +0000 Harlie Rush 4993697 <img src="http://payload134.cargocollective.com/1/8/258620/4993697/1.1.jpg" width="670" height="826" width_o="2048" height_o="2525" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/1.1_o.jpg" data-mid="26747343" caption="1. A composition of an object seen and defined from the point of view of another object.&lt;br /&gt; &lt;br /&gt; &quot;Super-Imposing&quot;&lt;br /&gt; acrylic, graphite, glitter, photographs, transfers, gel medium, and polyurethane on canvas&lt;br /&gt; 24”x30”/30”x24”&lt;br /&gt; &lt;br /&gt; &lt;i&gt;There is a bridge in my city which opens every hour, on the hour, to let waiting boats pass through. As I pass over the bridge in my car, I see the boats waiting; as the boats pass under the bridge, I sit at the light waiting. I thought about the bridge as a vantage point to portray the boats from, at first physically: I walked onto the bridge and took reference shots from which to paint. However, through this action, I thought of the bridge as a more of a conscious point-of-view rather than a simply visual perspective. I considered the opinion a bridge may have towards the boats which constantly impose on it and cause it to cease its continuous function of allowing cars to pass over the river. I represented the boats as very dominant, intrusive figures, repetitiously interjecting and causing the bridge to modify itself; the painting can be viewed sideways, as the boats would be seen by the lifted drawbridge, or horizontally, as the boats would be seen by the flat bridge.&lt;/i&gt;&lt;br /&gt; " border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/1.2.jpg" width="670" height="543" width_o="2048" height_o="1660" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/1.2_o.jpg" data-mid="26747344" caption="1. A composition of an object seen and defined from the point of view of another object.&lt;br /&gt; &lt;br /&gt; &quot;Super-Imposing&quot;&lt;br /&gt; acrylic, graphite, glitter, photographs, transfers, gel medium, and polyurethane on canvas&lt;br /&gt; 24”x30”/30”x24”&lt;br /&gt; &lt;br /&gt; &lt;i&gt;There is a bridge in my city which opens every hour, on the hour, to let waiting boats pass through. As I pass over the bridge in my car, I see the boats waiting; as the boats pass under the bridge, I sit at the light waiting. I thought about the bridge as a vantage point to portray the boats from, at first physically: I walked onto the bridge and took reference shots from which to paint. However, through this action, I thought of the bridge as a more of a conscious point-of-view rather than a simply visual perspective. I considered the opinion a bridge may have towards the boats which constantly impose on it and cause it to cease its continuous function of allowing cars to pass over the river. I represented the boats as very dominant, intrusive figures, repetitiously interjecting and causing the bridge to modify itself; the painting can be viewed sideways, as the boats would be seen by the lifted drawbridge, or horizontally, as the boats would be seen by the flat bridge.&lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/3.1 small copy.jpg" width="670" height="86" width_o="2048" height_o="264" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/3.1 small copy_o.jpg" data-mid="26747372" caption="3. A panoramic view of your closet.&lt;br /&gt; &lt;br /&gt; Untitled&lt;br /&gt; plastic wrap, photo transfers, thread, gel medium, and tape &lt;br /&gt; 4.25”x63”(my exact height)&lt;br /&gt; " border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/4.1 small.jpg" width="670" height="443" width_o="1160" height_o="768" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/4.1 small_o.jpg" data-mid="26747702" caption="4. A series of 5 or more images that illustrates an object at varying weights.&lt;br /&gt; &lt;br /&gt; &quot;The Peripheries of Decay&quot;&lt;br /&gt; three paintings (acrylic, glitter, graphite, and polyurethane on handmade wooden box frames), a time lapse video, an audio file, and a suspended grapefruit (fishing line, needles, pedestal, glass plate) &lt;br /&gt; paintings are 12”x12” each; entire installation occupies 10’x10’&lt;br /&gt; &lt;br /&gt; &lt;i&gt;The action which struck me as being a very natural and almost inevitable way of weight change is the rotting of produce. Consequently, I chose to create six pieces evoked by my record of a grapefruit rotting and also the end product of the rotting process.&lt;br /&gt; The time lapse video of the grapefruit rotting which is projected in the space serves to chronologically explain the rotting; I created a set up in which a picture was taken repetitively of the fruit as it rotted, and then assembled them into the video to document the process. &lt;br /&gt; The actual grapefruit tangibly portrays the rotting, presenting itself as the product of the process; it is hung in a way that references theories of an afterlife or other spiritual ascent.&lt;br /&gt; The audio file is of my mother (a science teacher) thoroughly elucidating why the rotting process occurs and why weight is lost, to logically explain the rotting.&lt;br /&gt; The three paintings evoked from reference images embody my personal perception of the rotting.&lt;br /&gt; As one enters the installation space, firstly they will see the visually dominant video of the grapefruit rotting. Then the viewer will observe the pieces on both sides, noting the source of the audio and the presence of the three paintings. Opposite the video is the rotted grapefruit, which the viewer will most likely notice last. &lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/4.3.jpg" width="670" height="1136" width_o="2048" height_o="3475" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/4.3_o.jpg" data-mid="26747401" caption="4. A series of 5 or more images that illustrates an object at varying weights.&lt;br /&gt; &lt;br /&gt; &quot;The Peripheries of Decay&quot;&lt;br /&gt; three paintings (acrylic, glitter, graphite, and polyurethane on handmade wooden box frames), a time lapse video, an audio file, and a suspended grapefruit (fishing line, needles, pedestal, glass plate) &lt;br /&gt; paintings are 12”x12” each; entire installation occupies 10’x10’&lt;br /&gt; &lt;br /&gt; &lt;i&gt;The action which struck me as being a very natural and almost inevitable way of weight change is the rotting of produce. Consequently, I chose to create six pieces evoked by my record of a grapefruit rotting and also the end product of the rotting process.&lt;br /&gt; The time lapse video of the grapefruit rotting which is projected in the space serves to chronologically explain the rotting; I created a set up in which a picture was taken repetitively of the fruit as it rotted, and then assembled them into the video to document the process. &lt;br /&gt; The actual grapefruit tangibly portrays the rotting, presenting itself as the product of the process; it is hung in a way that references theories of an afterlife or other spiritual ascent.&lt;br /&gt; The audio file is of my mother (a science teacher) thoroughly elucidating why the rotting process occurs and why weight is lost, to logically explain the rotting.&lt;br /&gt; The three paintings evoked from reference images embody my personal perception of the rotting.&lt;br /&gt; As one enters the installation space, firstly they will see the visually dominant video of the grapefruit rotting. Then the viewer will observe the pieces on both sides, noting the source of the audio and the presence of the three paintings. Opposite the video is the rotted grapefruit, which the viewer will most likely notice last. &lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/4.4 small.jpg" width="670" height="1925" width_o="1424" height_o="4096" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/4.4 small_o.jpg" data-mid="26747718" caption="4. A series of 5 or more images that illustrates an object at varying weights.&lt;br /&gt; &lt;br /&gt; &quot;The Peripheries of Decay&quot;&lt;br /&gt; three paintings (acrylic, glitter, graphite, and polyurethane on handmade wooden box frames), a time lapse video, an audio file, and a suspended grapefruit (fishing line, needles, pedestal, glass plate) &lt;br /&gt; paintings are 12”x12” each; entire installation occupies 10’x10’&lt;br /&gt; &lt;br /&gt; &lt;i&gt;The action which struck me as being a very natural and almost inevitable way of weight change is the rotting of produce. Consequently, I chose to create six pieces evoked by my record of a grapefruit rotting and also the end product of the rotting process.&lt;br /&gt; The time lapse video of the grapefruit rotting which is projected in the space serves to chronologically explain the rotting; I created a set up in which a picture was taken repetitively of the fruit as it rotted, and then assembled them into the video to document the process. &lt;br /&gt; The actual grapefruit tangibly portrays the rotting, presenting itself as the product of the process; it is hung in a way that references theories of an afterlife or other spiritual ascent.&lt;br /&gt; The audio file is of my mother (a science teacher) thoroughly elucidating why the rotting process occurs and why weight is lost, to logically explain the rotting.&lt;br /&gt; The three paintings evoked from reference images embody my personal perception of the rotting.&lt;br /&gt; As one enters the installation space, firstly they will see the visually dominant video of the grapefruit rotting. Then the viewer will observe the pieces on both sides, noting the source of the audio and the presence of the three paintings. Opposite the video is the rotted grapefruit, which the viewer will most likely notice last. &lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/4.5 small.jpg" width="670" height="524" width_o="2048" height_o="1601" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/4.5 small_o.jpg" data-mid="26747789" caption="4. A series of 5 or more images that illustrates an object at varying weights.&lt;br /&gt; &lt;br /&gt; &quot;The Peripheries of Decay&quot;&lt;br /&gt; three paintings (acrylic, glitter, graphite, and polyurethane on handmade wooden box frames), a time lapse video, an audio file, and a suspended grapefruit (fishing line, needles, pedestal, glass plate) &lt;br /&gt; paintings are 12”x12” each; entire installation occupies 10’x10’&lt;br /&gt; &lt;br /&gt; &lt;i&gt;The action which struck me as being a very natural and almost inevitable way of weight change is the rotting of produce. Consequently, I chose to create six pieces evoked by my record of a grapefruit rotting and also the end product of the rotting process.&lt;br /&gt; The time lapse video of the grapefruit rotting which is projected in the space serves to chronologically explain the rotting; I created a set up in which a picture was taken repetitively of the fruit as it rotted, and then assembled them into the video to document the process. &lt;br /&gt; The actual grapefruit tangibly portrays the rotting, presenting itself as the product of the process; it is hung in a way that references theories of an afterlife or other spiritual ascent.&lt;br /&gt; The audio file is of my mother (a science teacher) thoroughly elucidating why the rotting process occurs and why weight is lost, to logically explain the rotting.&lt;br /&gt; The three paintings evoked from reference images embody my personal perception of the rotting.&lt;br /&gt; As one enters the installation space, firstly they will see the visually dominant video of the grapefruit rotting. Then the viewer will observe the pieces on both sides, noting the source of the audio and the presence of the three paintings. Opposite the video is the rotted grapefruit, which the viewer will most likely notice last. (VIDEO AND AUDIO FILE WILL BE UPLOADED SOON!)&lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/5.1 small.jpg" width="670" height="443" width_o="2048" height_o="1356" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/5.1 small_o.jpg" data-mid="26748156" caption=" 5. Desire&lt;br /&gt; &lt;br /&gt; &quot;Unrequited Attachment&quot;&lt;br /&gt; painted plaster hand casts mounted on stained wooden plaques; each hand wear a ring made of cast resin and hair&lt;br /&gt; each sculpture is 10”x8”x(approximately)6”&lt;br /&gt; &lt;i&gt;&lt;br /&gt; When prompted with “desire”, I first thought of embodying the sentiment itself; I reflected on the one-sidedness of the action, clarifying that as one mentally longs for something without acting upon the attraction, it is desire. I related the mental yearning to a physical reaching, an outstretched hand that is frozen in its expression and will therefore never grasp what it longs for. The hands (cast from my own) were then mounted on wooden plaques, referencing the way a taxidermist presents the head of an animal, to further assert the inanimateness of the hand. As this idea was conceived, I further specified the broad definition I had manifested by referencing my most cordial and resounding desire: to form and keep connections to others without others forming attachments to me. I created a camera obscura in a room in my house, and the yard and the outside street I have been familiar with nearly my entire life projected onto the wall on which the cast hands hung. Further depicting my desire, I hung on a finger of each hand a resin ring in which I had suspended a lock of my mother’s hair, father’s hair, brother’s hair, or sister’s hair, as a deliberate yet subtle piece of my family I could retain without permanently impacting them.&lt;/i&gt;&lt;br /&gt; &lt;br /&gt; " border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/5.2 small.jpg" width="670" height="497" width_o="2048" height_o="1521" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/5.2 small_o.jpg" data-mid="26748331" caption=" 5. Desire&lt;br /&gt; &lt;br /&gt; &quot;Unrequited Attachment&quot;&lt;br /&gt; painted plaster hand casts mounted on stained wooden plaques; each hand wear a ring made of cast resin and hair&lt;br /&gt; each sculpture is 10”x8”x(approximately)6”&lt;br /&gt; &lt;i&gt;&lt;br /&gt; When prompted with “desire”, I first thought of embodying the sentiment itself; I reflected on the one-sidedness of the action, clarifying that as one mentally longs for something without acting upon the attraction, it is desire. I related the mental yearning to a physical reaching, an outstretched hand that is frozen in its expression and will therefore never grasp what it longs for. The hands (cast from my own) were then mounted on wooden plaques, referencing the way a taxidermist presents the head of an animal, to further assert the inanimateness of the hand. As this idea was conceived, I further specified the broad definition I had manifested by referencing my most cordial and resounding desire: to form and keep connections to others without others forming attachments to me. I created a camera obscura in a room in my house, and the yard and the outside street I have been familiar with nearly my entire life projected onto the wall on which the cast hands hung. Further depicting my desire, I hung on a finger of each hand a resin ring in which I had suspended a lock of my mother’s hair, father’s hair, brother’s hair, or sister’s hair, as a deliberate yet subtle piece of my family I could retain without permanently impacting them.&lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/5.6 small.jpg" width="670" height="641" width_o="2048" height_o="1959" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/5.6 small_o.jpg" data-mid="26748338" caption=" 5. Desire&lt;br /&gt; &lt;br /&gt; &quot;Unrequited Attachment&quot;&lt;br /&gt; painted plaster hand casts mounted on stained wooden plaques; each hand wear a ring made of cast resin and hair&lt;br /&gt; each sculpture is 10”x8”x(approximately)6”&lt;br /&gt; &lt;i&gt;&lt;br /&gt; When prompted with “desire”, I first thought of embodying the sentiment itself; I reflected on the one-sidedness of the action, clarifying that as one mentally longs for something without acting upon the attraction, it is desire. I related the mental yearning to a physical reaching, an outstretched hand that is frozen in its expression and will therefore never grasp what it longs for. The hands (cast from my own) were then mounted on wooden plaques, referencing the way a taxidermist presents the head of an animal, to further assert the inanimateness of the hand. As this idea was conceived, I further specified the broad definition I had manifested by referencing my most cordial and resounding desire: to form and keep connections to others without others forming attachments to me. I created a camera obscura in a room in my house, and the yard and the outside street I have been familiar with nearly my entire life projected onto the wall on which the cast hands hung. Further depicting my desire, I hung on a finger of each hand a resin ring in which I had suspended a lock of my mother’s hair, father’s hair, brother’s hair, or sister’s hair, as a deliberate yet subtle piece of my family I could retain without permanently impacting them.&lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/6.1.jpg" width="670" height="1041" width_o="2032" height_o="3160" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/6.1_o.jpg" data-mid="26770909" caption=" 6.Design an early warning system for mediocrity&lt;br /&gt; &lt;br /&gt; &quot;Precedent Prioritizing&quot;&lt;br /&gt; box constructed from wood with two sliding slats, and holes to fit blocks; each block is wooden and altered with photo transfers, stain, polyurethane, and other materials&lt;br /&gt; box is 18”x9.5”x11”; each block is 1.5”&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Mediocrity is the state of being average; frequently, being average results from poor prioritizing and apathy. I interpreted “early” to be in terms of age, and therefore developed a child’s toy (intended for those of elementary school age) which serves to assess priorities. The wooden contraption is a rectangular prism with a top but no bottom, with two slats that slide in and out, creating three levels (the bottom level being the ground). There are two large holes in the sides of each level, through which the blocks I have created fit. The child taking the test would have a personalized set of blocks created to the parent or guardian’s liking, with visual and textual representation of different priorities they chose. I created a sample set specific to what my parents would have wanted the blocks to read if I were a child taking the test: “family”, “siblings”, “home”, “school”, “peers”, “tae kwon do”, “environment”, “jesus”, “self”. The child would be instructed to place the blocks into the level they deem appropriate: the highest level is to hold the blocks which are most important to them, the middle is to hold the blocks which are of average importance, and the lowest is to hold the blocks they determine to be least important. The administrator themselves can decide whether to instruct the child to distribute the blocks evenly throughout the levels, or whether to create other limitations. Afterwards, by lifting the box the administrator can find out the child’s lowest priorities, and by pulling out the middle and then finally the top slat they can determine the child’s medium and highest priorities. The exercise can be done with any number or subject of blocks, any time restrictions, and any elementary school-age child with basic understanding of the exercise.&lt;/i&gt; " border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/6.2 small.jpg" width="670" height="292" width_o="2048" height_o="895" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/6.2 small_o.jpg" data-mid="26770910" caption=" 6.Design an early warning system for mediocrity&lt;br /&gt; &lt;br /&gt; &quot;Precedent Prioritizing&quot;&lt;br /&gt; box is constructed from wood and has two sliding slats, with holes to fit blocks; each block is wooden and altered with photo transfers, stain, polyurethane, and other materials&lt;br /&gt; box is 18”x9.5”x11”; each block is 1.5”&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Mediocrity is the state of being average; frequently, being average results from poor prioritizing and apathy. I interpreted “early” to be in terms of age, and therefore developed a child’s toy (intended for those of elementary school age) which serves to assess priorities. The wooden contraption is a rectangular prism with a top but no bottom, with two slats that slide in and out, creating three levels (the bottom level being the ground). There are two large holes in the sides of each level, through which the blocks I have created fit. The child taking the test would have a personalized set of blocks created to the parent or guardian’s liking, with visual and textual representation of different priorities they chose. I created a sample set specific to what my parents would have wanted the blocks to read if I were a child taking the test: “family”, “siblings”, “home”, “school”, “peers”, “tae kwon do”, “environment”, “jesus”, “self”. The child would be instructed to place the blocks into the level they deem appropriate: the highest level is to hold the blocks which are most important to them, the middle is to hold the blocks which are of average importance, and the lowest is to hold the blocks they determine to be least important. The administrator themselves can decide whether to instruct the child to distribute the blocks evenly throughout the levels, or whether to create other limitations. Afterwards, by lifting the box the administrator can find out the child’s lowest priorities, and by pulling out the middle and then finally the top slat they can determine the child’s medium and highest priorities. The exercise can be done with any number or subject of blocks, any time restrictions, and any elementary school-age child with basic understanding of the exercise.&lt;/i&gt;" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/8/258620/4993697/6.4.jpg" width="670" height="685" width_o="2048" height_o="2094" src_o="http://payload134.cargocollective.com/1/8/258620/4993697/6.4_o.jpg" data-mid="26770921" caption=" 6.Design an early warning system for mediocrity&lt;br /&gt; &lt;br /&gt; &quot;Precedent Prioritizing&quot;&lt;br /&gt; box is constructed from wood and has two sliding slats, with holes to fit blocks; each block is wooden and altered with photo transfers, stain, polyurethane, and other materials&lt;br /&gt; box is 18”x9.5”x11”; each block is 1.5”&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Mediocrity is the state of being average; frequently, being average results from poor prioritizing and apathy. I interpreted “early” to be in terms of age, and therefore developed a child’s toy (intended for those of elementary school age) which serves to assess priorities. The wooden contraption is a rectangular prism with a top but no bottom, with two slats that slide in and out, creating three levels (the bottom level being the ground). There are two large holes in the sides of each level, through which the blocks I have created fit. The child taking the test would have a personalized set of blocks created to the parent or guardian’s liking, with visual and textual representation of different priorities they chose. I created a sample set specific to what my parents would have wanted the blocks to read if I were a child taking the test: “family”, “siblings”, “home”, “school”, “peers”, “tae kwon do”, “environment”, “jesus”, “self”. The child would be instructed to place the blocks into the level they deem appropriate: the highest level is to hold the blocks which are most important to them, the middle is to hold the blocks which are of average importance, and the lowest is to hold the blocks they determine to be least important. The administrator themselves can decide whether to instruct the child to distribute the blocks evenly throughout the levels, or whether to create other limitations. Afterwards, by lifting the box the administrator can find out the child’s lowest priorities, and by pulling out the middle and then finally the top slat they can determine the child’s medium and highest priorities. The exercise can be done with any number or subject of blocks, any time restrictions, and any elementary school-age child with basic understanding of the exercise.&lt;/i&gt;" border="0" align="left"/> http://harlierush.com/Previously-Presently-and-Prospectively http://harlierush.com/following/harlierush.com/Previously-Presently-and-Prospectively Thu, 16 Aug 2012 13:10:37 +0000 Harlie Rush 3900086 <img src="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0280.JPG" width="670" height="615" width_o="1112" height_o="1021" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0280_o.JPG" data-mid="20513514" caption="“Previously&quot; &lt;br /&gt; book constructed from paper, glitter, acrylic, graphite, stitching, collage elements, altered photography, velum, and tape&lt;br /&gt; 2012&lt;br /&gt; each spread is 4&quot;x8&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously1.jpg" width="670" height="321" width_o="2048" height_o="982" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously1_o.jpg" data-mid="20511096" caption="&quot;On the Premise of Misfortune&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously2.jpg" width="670" height="305" width_o="2048" height_o="934" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously2_o.jpg" data-mid="20511098" caption="&quot;The Dating Game&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously3.jpg" width="670" height="307" width_o="2048" height_o="940" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously3_o.jpg" data-mid="20511100" caption="&quot;Seldom Looking To Take Any Precaution&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously4.jpg" width="670" height="321" width_o="2048" height_o="981" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously4_o.jpg" data-mid="20511101" caption="&quot;Detriment&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously5.jpg" width="670" height="303" width_o="2048" height_o="928" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously5_o.jpg" data-mid="20511103" caption="&quot;Ignorance/ Lack of Gratitude”" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/previously6.jpg" width="670" height="331" width_o="2048" height_o="1014" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/previously6_o.jpg" data-mid="20511105" caption="&quot;Goat and Girl; A Desire to Retreat&quot;" border="0" align="left"/> <img src="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0285.JPG" width="670" height="632" width_o="1101" height_o="1040" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0285_o.JPG" data-mid="20513517" caption="“Presently&quot;&lt;br /&gt; book constructed from paper, glitter, acrylic, graphite, stitching, collage elements, altered photography, velum, and tape&lt;br /&gt; 2012&lt;br /&gt; each spread is 4&quot;x8&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently1.jpg" width="670" height="305" width_o="2048" height_o="934" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently1_o.jpg" data-mid="20511029" caption="&quot;Persistent Wishes&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently2.jpg" width="670" height="300" width_o="2048" height_o="917" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently2_o.jpg" data-mid="20511030" caption="&quot;Growth&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently3.jpg" width="670" height="313" width_o="2048" height_o="957" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently3_o.jpg" data-mid="20511032" caption="&quot;Gathering&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently4.jpg" width="670" height="307" width_o="2048" height_o="939" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently4_o.jpg" data-mid="20511033" caption="&quot;Retrospect&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently5.jpg" width="670" height="294" width_o="2048" height_o="900" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently5_o.jpg" data-mid="20511038" caption="&quot;Sifting Through Ash&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/presently6_11.jpg" width="670" height="314" width_o="2048" height_o="960" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/presently6_11_o.jpg" data-mid="20511074" caption="&quot;Stray&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0286.JPG" width="670" height="642" width_o="1102" height_o="1056" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/SCAN0286_o.JPG" data-mid="20513525" caption="“Prospectively&quot; &lt;br /&gt; book constructed from paper, glitter, acrylic, graphite, stitching, collage elements, altered photography, velum, and tape&lt;br /&gt; 2012&lt;br /&gt; each spread is 4&quot;x8&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively1.jpg" width="670" height="316" width_o="2048" height_o="966" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively1_o.jpg" data-mid="20511139" caption="&quot;Fill the Gaps&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively2.jpg" width="670" height="315" width_o="2048" height_o="963" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively2_o.jpg" data-mid="20511140" caption="&quot;Inevitable Circumstances as a Feminine Figure&quot;" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively3.jpg" width="670" height="323" width_o="2048" height_o="989" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively3_o.jpg" data-mid="20511141" caption="“Creed”" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively4.jpg" width="670" height="308" width_o="2048" height_o="943" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively4_o.jpg" data-mid="20511146" caption="“Correcting the Chemistry”" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively5.jpg" width="670" height="316" width_o="2048" height_o="967" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively5_o.jpg" data-mid="20511148" caption=" “Paying Through the Nose For Things Supposedly Free”" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively6.jpg" width="670" height="310" width_o="2048" height_o="949" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/prospectively6_o.jpg" data-mid="20511149" caption=" “Linkage”" border="0" align="left"/><img src="http://payload80.cargocollective.com/1/8/258620/3900086/4 copy.jpg" width="670" height="404" width_o="2048" height_o="1237" src_o="http://payload80.cargocollective.com/1/8/258620/3900086/4 copy_o.jpg" data-mid="20615629" border="0" align="left"/> http://harlierush.com/A-Memorial-Seance-of-Past-Selves http://harlierush.com/following/harlierush.com/A-Memorial-Seance-of-Past-Selves Wed, 08 Aug 2012 16:22:46 +0000 Harlie Rush 3886259 When thinking of specific instances in my past, I realize I have created and exercised many variations of my personality throughout my lifetime. Words once used to describe me are no longer applicable, and I have used and discarded many vantage points. Experiences have specified and also altered my identity, and will continue to do so. I do not mourn these past perspectives typically (though I sometimes envy easier/simpler perceptions), but I deemed it necessary to acknowledge my beginning phases, as they are responsible for my present state. The memorial is a very literal metaphor for my need to acknowledge past states; I photocopied and transferred individual photos from an item specifically designed to incite nostalgia: a grade school yearbook. The photographs were one decade old when I chose them; therefore, the personalities embodied in the photographs have likely been altered and replaced by now. By individually altering these photographs, I emphasized them as individual identities, or ‘selves’. I intend for this piece to be interactive; viewers may light the candle corresponding to any individual self on the wall as a gesture of remembrance. <img src="http://payload79.cargocollective.com/1/8/258620/3886259/Installation 3.jpg" width="670" height="1245" width_o="968" height_o="1800" src_o="http://payload79.cargocollective.com/1/8/258620/3886259/Installation 3_o.jpg" data-mid="20284103" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/258620/3886259/DSC_29971 copy.jpg" width="670" height="1011" width_o="1500" height_o="2265" src_o="http://payload79.cargocollective.com/1/8/258620/3886259/DSC_29971 copy_o.jpg" data-mid="20284021" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/258620/3886259/detail.jpg" width="670" height="189" width_o="2048" height_o="578" src_o="http://payload79.cargocollective.com/1/8/258620/3886259/detail_o.jpg" data-mid="20283953" border="0" align="left"/><img src="http://payload79.cargocollective.com/1/8/258620/3886259/hi.jpg" width="670" height="569" width_o="1500" height_o="1276" src_o="http://payload79.cargocollective.com/1/8/258620/3886259/hi_o.jpg" data-mid="20284271" border="0" align="left"/> When thinking of specific instances in my past, I realize I have created and exercised many variations of my personality throughout my lifetime. Words once used to... http://harlierush.com/Sculpture-Installation-Performance http://harlierush.com/following/harlierush.com/Sculpture-Installation-Performance Tue, 10 Jul 2012 10:38:33 +0000 Harlie Rush 3702626 <img src="http://payload70.cargocollective.com/1/8/258620/3702626/04. Exercises No. 1-24_o.jpg" width="670" height="405" width_o="2048" height_o="1241" src_o="http://payload70.cargocollective.com/1/8/258620/3702626/04. Exercises No. 1-24_o_o.jpg" data-mid="19227985" caption="&quot;Exercises No.1-24&quot;&lt;br /&gt; mixed media/collage on paper&lt;br /&gt; 2012&lt;br /&gt; 5'x8'&lt;br /&gt; &lt;br /&gt; &lt;i&gt;“I’m not sure I understand these as much. But, I understand there are exercises you have to go through.” As the first comment made on this installation, this statement predominantly affected my perception of the piece. This collection is my first attempt at ‘collage’; I have never used this collectiveness of unrelated material in a final piece before, or even within experimentations. The use of material which technically is credited to another has never appealed to me; therefore, these exercises are composed entirely of my own photos, text, documents, and saved material such as racing tags and receipts no organization or person could lay claim to. This assemblage is a sort of revival of these objects and materials I someway saved over the years; it is only appropriate they be reconstructed for sake of exercise and growth.&lt;/i&gt;" border="0" align="left"/><img src="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m2zeccuYA91ruz61lo1_500_o.png" width="500" height="500" width_o="500" height_o="500" src_o="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m2zeccuYA91ruz61lo1_500_o_o.png" data-mid="19227886" caption="Cork Earrings&lt;br /&gt; sliced cork, polyurethane, epoxy, and altered metal&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m6uti7a6cu1ruz61lo1_1280.png" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m6uti7a6cu1ruz61lo1_1280_o.png" data-mid="19375437" caption="&quot;A Social Contract&quot;&lt;br /&gt; functional blinds constructed from scrap wood and twine&lt;br /&gt; 2012&lt;br /&gt; 7”x8”x9”" border="0" align="left"/><img src="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m6r66ouGiJ1ruz61lo1_1280.png" width="612" height="612" width_o="612" height_o="612" src_o="http://payload70.cargocollective.com/1/8/258620/3702626/tumblr_m6r66ouGiJ1ruz61lo1_1280_o.png" data-mid="19375438" caption="&quot;The Inability/Desire To&quot;&lt;br /&gt; documentation of a 4 minute performance involving, scissors, receipts, and a needle and thread&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload70.cargocollective.com/1/8/258620/3702626/hi2.jpg" width="670" height="569" width_o="2048" height_o="1742" src_o="http://payload70.cargocollective.com/1/8/258620/3702626/hi2_o.jpg" data-mid="20182511" caption="&quot;A Memorial/Seance of Past Selves&quot;&lt;br /&gt; found wood, candles, and altered photographic transfers made from photocopies and altered using stitching, acrylic, graphite, collage, and other medium&lt;br /&gt; 2012&lt;br /&gt; 4’x2’x3’&lt;br /&gt; &lt;br /&gt; &lt;i&gt;When thinking of specific instances in my past, I realize I have created and exercised many variations of my personality throughout my lifetime. Words once used to describe me are no longer applicable, and I have used and discarded many vantage points. Experiences have specified and also altered my identity, and will continue to do so. I do not mourn these past perspectives typically (though I sometimes envy easier/simpler perceptions), but I deemed it necessary to acknowledge my beginning phases, as they are responsible for my present state. &lt;br /&gt; &lt;br /&gt; The memorial is a very literal metaphor for my need to acknowledge past states; I photocopied and transferred individual photos from an item specifically designed to incite nostalgia: a grade school yearbook. The photographs were one decade old when I chose them; therefore, the personalities embodied in the photographs have likely been altered and replaced by now. By individually altering these photographs, I emphasized them as individual identities, or ‘selves’. &lt;br /&gt; &lt;br /&gt; I intend for this piece to be interactive; viewers may light the candle corresponding to any individual self on the wall as a gesture of remembrance. &lt;/i&gt;&lt;br /&gt; &lt;br /&gt; (additional photographs in succeeding album)" border="0" align="left"/> http://harlierush.com/The-Regard-Series http://harlierush.com/following/harlierush.com/The-Regard-Series Tue, 03 Jul 2012 14:59:43 +0000 Harlie Rush 3692617 The Regard Series is a grouping of unedited images shot in the Atlantic Ocean. The balance of attraction and fear the ocean offers has provoked many pieces; however, the provocation began with these digital images. "awe/appeal" and "Insight" are both derived from this collection. <img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0035.JPG" width="670" height="451" width_o="2048" height_o="1378" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0035_o.JPG" data-mid="19173343" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0038.JPG" width="670" height="454" width_o="2048" height_o="1389" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0038_o.JPG" data-mid="19173345" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0065.JPG" width="670" height="450" width_o="2048" height_o="1376" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0065_o.JPG" data-mid="19173351" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0073.JPG" width="670" height="453" width_o="2048" height_o="1387" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0073_o.JPG" data-mid="19173357" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0076.JPG" width="670" height="452" width_o="2048" height_o="1383" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0076_o.JPG" data-mid="19173363" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/edition1.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/edition1_o.jpg" data-mid="19173396" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/edition2.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/edition2_o.jpg" data-mid="19173406" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/edition5.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/edition5_o.jpg" data-mid="19173420" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/edition6.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/edition6_o.jpg" data-mid="19173429" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0077.JPG" width="670" height="454" width_o="2048" height_o="1389" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0077_o.JPG" data-mid="19173849" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0074.JPG" width="670" height="455" width_o="2048" height_o="1392" src_o="http://payload69.cargocollective.com/1/8/258620/3692617/PICT0074_o.JPG" data-mid="19173835" border="0" align="left"/> The Regard Series is a grouping of unedited images shot in the Atlantic Ocean. The balance of attraction and fear the ocean offers has provoked many pieces;... http://harlierush.com/Drawing http://harlierush.com/following/harlierush.com/Drawing Mon, 02 Jul 2012 09:37:09 +0000 Harlie Rush 3684549 <img src="http://payload69.cargocollective.com/1/8/258620/3684549/glotter skecthcopy.jpg" width="670" height="503" width_o="2048" height_o="1538" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/glotter skecthcopy_o.jpg" data-mid="22772848" caption="&lt;i&gt;Untitled (October 12, 2012)&lt;/i&gt;&lt;br /&gt; 2012&lt;br /&gt; charcoal, oil pastel, glitter, and graphite on paper&lt;br /&gt; 24&quot;x18" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/25.Maybe If I were Blonder- I-d Be Cuter.jpg" width="670" height="550" width_o="2048" height_o="1682" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/25.Maybe If I were Blonder- I-d Be Cuter_o.jpg" data-mid="19749844" caption="&quot;Maybe If I Were Blonder, I'd Be Cuter&quot;&lt;br /&gt; graphite on paper&lt;br /&gt; 2012&lt;br /&gt; 14&quot;x17&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/mintdrawing.jpg" width="670" height="1017" width_o="1856" height_o="2820" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/mintdrawing_o.jpg" data-mid="22772814" caption="&quot;Revered Intent&quot;&lt;br /&gt; 2012&lt;br /&gt; graphite and oil pastel on paper&lt;br /&gt; 22&quot;x16&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/saint1lowquality.jpg" width="670" height="384" width_o="1800" height_o="1034" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/saint1lowquality_o.jpg" data-mid="20768152" caption="&quot;Devotion&quot;&lt;br /&gt; acrylic, oil pastel, graphite, polyurethane, and gold leaf on paper&lt;br /&gt; 2012&lt;br /&gt; 17&quot;x14&quot; each; (17&quot;x40&quot;)" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/redsketch.jpg" width="670" height="494" width_o="2048" height_o="1510" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/redsketch_o.jpg" data-mid="22772821" caption="&quot;Tylenol&quot;&lt;br /&gt; 2012&lt;br /&gt; oil pastel and graphite on paper&lt;br /&gt; 24&quot;x18&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/18. The Matted Man.jpg" width="670" height="480" width_o="960" height_o="689" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/18. The Matted Man_o.jpg" data-mid="19162352" caption=" &quot;The Matted Man&quot;&lt;br /&gt; graphite and crayon on paper&lt;br /&gt; 2011&lt;br /&gt; 16&quot;x22&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/saintwhooooo-1-1.jpg" width="670" height="830" width_o="2048" height_o="2537" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/saintwhooooo-1-1_o.jpg" data-mid="20766248" caption="&quot;Exaltation&quot;&lt;br /&gt; graphite, oil pastel, and beading on paper (wrapped on frame)&lt;br /&gt; 2012&lt;br /&gt; 10&quot;x8&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 28_24.jpg" width="670" height="358" width_o="2048" height_o="1095" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 28_24_o.jpg" data-mid="22814091" caption="&quot;Sanctification&quot;&lt;br /&gt; graphite and gold leaf on paper&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/10HOURDRAWING.jpg" width="670" height="528" width_o="2048" height_o="1615" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/10HOURDRAWING_o.jpg" data-mid="22772785" caption="&quot;Deal-ing&quot;&lt;br /&gt; 2012&lt;br /&gt; graphite on paper&lt;br /&gt; 14&quot;x17&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/andisketch.jpg" width="670" height="861" width_o="2048" height_o="2634" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/andisketch_o.jpg" data-mid="22772790" caption="&quot;Kicked&quot;&lt;br /&gt; 2012&lt;br /&gt; graphite, conte, charcoal, and oil pastel on paper&lt;br /&gt; 24&quot;x18&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/SCAN0294_20.JPG" width="670" height="514" width_o="2048" height_o="1571" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/SCAN0294_20_o.JPG" data-mid="20760784" caption="&quot;Out of My Element&quot;&lt;br /&gt; collage and graphite on paper&lt;br /&gt; 2012&lt;br /&gt; 8&quot;x11&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 28.jpg" width="670" height="966" width_o="2048" height_o="2954" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 28_o.jpg" data-mid="22256775" caption="&quot;Host of the Congregate&quot;&lt;br /&gt; conte, graphite, and charcoal on paper&lt;br /&gt; 2012&lt;br /&gt; 24&quot;x18&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 20.jpg" width="670" height="496" width_o="2048" height_o="1516" src_o="http://payload69.cargocollective.com/1/8/258620/3684549/Harlie Rush 20_o.jpg" data-mid="21813801" caption="&quot;Inauguration&quot;&lt;br /&gt; graphite and charcoal on paper&lt;br /&gt; 2012&lt;br /&gt; 18&quot;x24&quot;x2&quot;&lt;br /&gt; &lt;i&gt;A commonly understood meaning for “inauguration” is the induction of a figure into a position of authority. The phrase is most often used to describe the commencement of the United States president into office; he is ‘sworn-in’, and his speech addressing his public is declared “The Inaugural Address”. “Inauguration” can also be understood to mean “beginning”: it is synonymous to inception, genesis, and instigation. By unifying the two perceptions, I am left with the conclusion that each opportunity for rebirth puts one in a position of indefinite power, as an individual and as an influence. A disregarded prospect offers itself each time one wakes up, within the transitory seconds where the boundary between conscious and unconscious is straddled and there is no immediate priority. If only one could harvest those brief opportune seconds and use them for an extended period, what would result of this freeing from expectation and obligation?&lt;/i&gt;" border="0" align="left"/> http://harlierush.com/Photography http://harlierush.com/following/harlierush.com/Photography Mon, 02 Jul 2012 09:37:08 +0000 Harlie Rush 3684553 <img src="http://payload69.cargocollective.com/1/8/258620/3684553/final.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/final_o.jpg" data-mid="19171190" caption="&quot;Descending (The Choice To Do So)&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2011" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/final3.jpg" width="670" height="583" width_o="2048" height_o="1783" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/final3_o.jpg" data-mid="19171198" caption="&quot;Deriving (The Example Which Justified)&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2011" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/14.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/14_o.jpg" data-mid="19171216" caption="&quot;Denying (The Afterward)&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2011" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/14.In Limbo.jpg" width="670" height="1019" width_o="2048" height_o="3116" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/14.In Limbo_o.jpg" data-mid="19749800" caption="&quot;In Limbo&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/8.jpg" width="521" height="720" width_o="521" height_o="720" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/8_o.jpg" data-mid="19171209" caption="&quot;Lie as Opposed to Truth&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2011" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/9.jpg" width="670" height="548" width_o="720" height_o="589" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/9_o.jpg" data-mid="19171210" caption=" &quot;Truth As Opposed to Lie&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2011" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT1.jpg" width="670" height="785" width_o="2048" height_o="2402" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT1_o.jpg" data-mid="19261314" caption=" &quot;Mediate 1&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT2 copy.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT2 copy_o.jpg" data-mid="19261417" caption=" &quot;Mediate 2&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT4 copy.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload69.cargocollective.com/1/8/258620/3684553/mediateEDIT4 copy_o.jpg" data-mid="19261467" caption="&quot;Mediate 3&quot;&lt;br /&gt; digital photograph&lt;br /&gt; 2012" border="0" align="left"/> http://harlierush.com/Printmaking http://harlierush.com/following/harlierush.com/Printmaking Mon, 02 Jul 2012 09:37:08 +0000 Harlie Rush 3684586 <img src="http://payload69.cargocollective.com/1/8/258620/3684586/16. Indian Lithograph.png" width="670" height="893" width_o="720" height_o="960" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/16. Indian Lithograph_o.png" data-mid="19750033" caption="&quot;Indian&quot;&lt;br /&gt; lithography on handmade paper&lt;br /&gt; 2012&lt;br /&gt; 13&quot;x7&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/Harlie Rush 05.jpg" width="670" height="705" width_o="860" height_o="905" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/Harlie Rush 05_o.jpg" data-mid="21813039" caption="&quot;Pescatarian&quot;&lt;br /&gt; lithography on paper&lt;br /&gt; 2012&lt;br /&gt; 10.5&quot;x10&quot;&lt;br /&gt; &lt;i&gt;edition of ten&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/06. Conciousness is a Tool.jpg" width="670" height="399" width_o="2048" height_o="1221" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/06. Conciousness is a Tool_o.jpg" data-mid="19202122" caption=" &quot;Consciousness Is A Tool&quot;&lt;br /&gt; enamel-ink silkscreen on ceramic tile&lt;br /&gt; 2011&lt;br /&gt; 4&quot;x4&quot; each&lt;br /&gt; &lt;i&gt;The main tool of my trade is the thought process behind my work. It is irrevocably necessary to the final product. The aesthetic thought and conceptual thought are equally important in consideration as my original idea treks in circles within my consciousness, seemingly more intricate each time around as detail and concept are realized. The piece, once developed, is a manifestation of the idea itself as well as the broad thought process which generated it.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/25. deer.jpg" width="670" height="621" width_o="2048" height_o="1898" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/25. deer_o.jpg" data-mid="19170927" caption="&quot;Deer: A Saturday Study&quot;&lt;br /&gt; 3 color silkscreen on paper&lt;br /&gt; 2012&lt;br /&gt; 16&quot;x18&quot;&lt;br /&gt; &lt;i&gt;edition of ten&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/28.self-portrait.jpg" width="670" height="224" width_o="960" height_o="322" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/28.self-portrait_o.jpg" data-mid="19170928" caption=" &quot;Self-Portrait&quot;&lt;br /&gt; silkscreen on muslin wrapped in fabric hoop&lt;br /&gt; 2012&lt;br /&gt; 6&quot; diameter each; (7&quot;x27&quot;)&lt;br /&gt; &lt;i&gt;A few years ago, I had long light blond, thin hair; because of how slowly my hair grew, it was still my “baby” hair. On a whim, I cut it all off at once, donating what I could and cutting the rest nearly to my scalp. I was happy as I watched it grow back, darker and thicker, and more reminiscent of my mother’s hair. It has been two years since, and my hair is reaching its old length in half the time. These prints are reminiscent of the growth I have undergone and indicative of the growth I will continue to undergo over my lifetime.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/Harlie Rush 29.jpg" width="670" height="644" width_o="1094" height_o="1052" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/Harlie Rush 29_o.jpg" data-mid="21813282" caption=" &quot;Certain Things Go Fine Together&quot;&lt;br /&gt; silkscreen on fabric mounted on wood framing&lt;br /&gt; 2011&lt;br /&gt; 7”x7” each; (2’x2’)&lt;br /&gt; &lt;br /&gt; &lt;i&gt;Certain Things Go Fine Together is an expression of just that: it is an experimentation in which I tried to make numerous prints and colors concise through the replication of an image. The image is a blank Venn-Diagram, the symbol of comparison/contrast (two elements which are vital when combining visual elements). As one of the most simplistic works I’ve created, both visually and conceptually, I consider it a sort of palate-cleanser when reviewing earlier works and considering the direction my work has taken/continues to take.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684586/picstitch small.jpg" width="670" height="439" width_o="2048" height_o="1342" src_o="http://payload69.cargocollective.com/1/8/258620/3684586/picstitch small_o.jpg" data-mid="21812984" caption="&quot;The Unluckiest Child (Alive)&quot;&lt;br /&gt; digital photographs documenting one color screen-print on human&lt;br /&gt; 2012&lt;br /&gt; &lt;i&gt;What if one could keep track of all the ways fate has wronged them? I have literally generated a method for one to mark down hapless occurrences so as to remind fate what one is “owed” (though I cannot guarantee fate will see or mind). As he/she is blessed, they will erase one of the ink marks with their own saliva so as to assert the good and bad deeds “cancel each other out”. Excess blessings, obviously, are not marked (I know no human with the integrity to ask for more hardship as he feels he is overburdened with good fortune). The person documented is plainly christened “The Unluckiest Child (Alive)” (there may be those unluckier than he who do not have time left in their life to be repaid) because apparently fate has repeatedly wronged him without later balancing the scale.&lt;/i&gt;&lt;br /&gt; " border="0" align="left"/> http://harlierush.com/Mixed-Media http://harlierush.com/following/harlierush.com/Mixed-Media Mon, 02 Jul 2012 09:26:58 +0000 Harlie Rush 3684525 <img src="http://payload69.cargocollective.com/1/8/258620/3684525/09. Love Me- Love Me Not.jpg" width="670" height="675" width_o="2048" height_o="2063" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/09. Love Me- Love Me Not_o.jpg" data-mid="19161975" caption="&quot;Love Me, Love Me Not&quot;&lt;br /&gt; acrylic, graphite, gold leaf, and polyurethane on canvas&lt;br /&gt; 2012&lt;br /&gt; 36&quot;x36&quot;&lt;br /&gt; &lt;i&gt;&lt;br /&gt; When I was younger, I remember plucking petals from flowers, chanting: “…he loves me, he loves me not…” over and over again. I would most always end on “He loves me,” primarily because I would decide according to the circumstances whether or not the stem counted. If the last petal stated, “He loves me,” the game ended; if not, the stem would count as well, and I was appeased. Now, I rarely take the impulsively optimistic approach I took as a child. I very rarely lie to myself and assume the better when the latter is more likely. Once a particular ignorance is lost, it cannot be recovered; though it is supposedly for the best, I still on occasion desire a child-like misunderstanding.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/pictures_o_o.jpg" width="670" height="564" width_o="2048" height_o="1725" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/pictures_o_o_o.jpg" data-mid="25489171" caption="&quot;awe/appeal&quot;&lt;br /&gt; mixed media/collage on photographs&lt;br /&gt; 2012&lt;br /&gt; 16&quot;x6&quot; each; (16&quot;x40&quot;)&lt;br /&gt; &lt;i&gt;The ocean has permanently apprehended my interest; I have always held an odd attraction to the power of water and intricacy of the shoreline. My most vivid childhood memory is one of being too young to swim, and walking to the water to dip my hands in the small waves that I had been watching and making assumptions of for some time. As I crouched in the sand, a wave advanced seemingly from nowhere, knocking me to the sand and pulling me into the sea. I recall the minute or two I struggled with salt in my nose and the sea floor pounding my back and limbs and face. Strong hands lifted me out of the water, as quickly as the waves had pulled me in, and I coughed and sputtered in the sand. I have come to realize after reading about those who have drowned after being caught in currents and tides that it is the sea’s beauty which seduces so many such as myself and its strength which demands reverence and draws endless visitors. I am older, but I still remember the feeling of drowning. I know now the ocean is not an empathetic being, and there is a delicate balance required of my fascination and fear.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/envolopes_o-1_o-1.jpg" width="670" height="531" width_o="2048" height_o="1626" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/envolopes_o-1_o-1_o.jpg" data-mid="25489443" caption="&quot;The Sending Series&quot;&lt;br /&gt; mixed media/collage on tracing paper and mailing envelopes&lt;br /&gt; 2012&lt;br /&gt; 1.5'x2'" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/doily.jpg" width="670" height="858" width_o="2048" height_o="2625" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/doily_o.jpg" data-mid="20768167" caption="&quot;Mistaken&quot;&lt;br /&gt; hair, beading, and velum on doily&lt;br /&gt; 2012&lt;br /&gt; 8&quot; diameter" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 18.jpg" width="670" height="536" width_o="680" height_o="545" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 18_o.jpg" data-mid="21813853" caption="&quot;Guppies&quot;&lt;br /&gt; graphite, acrylic, and polyurethane on paper on box frame&lt;br /&gt; 2012&lt;br /&gt; 8&quot;x11&quot;x3&quot;&lt;br /&gt; &lt;i&gt;Fish as a phylum have intrigued me since I first watched my father fishing, curious about the ease with which he reeled in the animals by hooks in their lips. My interest in fish as subjects for my work began when I was confronted with the idea of pescetarianism; I decided to look into the reasoning behind abstaining from all meat besides seafood. Those who choose the diet with health as justification have straightforward reasoning: fish provide certain proteins, vitamins, and minerals without the detriments of red meat. Those who chose the diet for “moral” reasons, however, had more complex logic. Some claim to eat fish because the animals “do not care for their young”, some because it is gentler on the environment as far as fossil fuel and resource depletion; a specific man even chose fish as his only meat intake because he knew he could kill them himself, but knew he did not have the ability to catch poultry or hunt other meat. While the reasonings confuse me, they do further my interest in glorifying the animals while questioning why they are killed for sport and chosen as dietary staples. &lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/19.Feminine vs. Masculine.jpg" width="670" height="436" width_o="960" height_o="625" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/19.Feminine vs. Masculine_o.jpg" data-mid="19162068" caption=" &quot;Feminine vs. Masculine (Fragility vs. Brutality)&quot;&lt;br /&gt; mixed media/ collage on wood&lt;br /&gt; 2012&lt;br /&gt; 2'x3'&lt;br /&gt; &lt;i&gt;My approach to femininity vs. masculinity was to begin at the edges; I believed that, to understand hyper-femininity and hyper-masculinity is to realize the compromises between. However, I found difficulty first in finding such natures, then in embodying them. I acquired interpretations from pop-culture, ancient history, and one-on-one interviews with members of both sexes. There was a lull beneath these ‘extremes’; I could not be honest in expressing such unnatural and unfamiliar dispositions. Ultimately, I found a way to balance the negatives of each nature, and in the process found myself interweaving personal impressions of each gender, and my personal perceptions of sexuality. The entire purpose of conducting a study of gender-roles was to gain understanding of what I am not accustomed to and recognize the traits I am surrounded and influenced by. I consider this study lucrative; I deem I conveyed the conflicting approaches I took and discomfort I felt when approaching gender-roles I was not familiar with as well as the acquaintance I have with intermediary roles. &lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/roosters.jpg" width="670" height="543" width_o="2048" height_o="1660" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/roosters_o.jpg" data-mid="19707978" caption="&quot;The Time of Day&quot;&lt;br /&gt; acrylic and graphite on canvas&lt;br /&gt; 2012&lt;br /&gt; 16&quot;x20&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 07.jpg" width="670" height="841" width_o="2048" height_o="2572" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 07_o.jpg" data-mid="22725337" caption="&quot;Consecration&quot;&lt;br /&gt; acrylic, stitching, beading, and polyurethane on canvas&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/tumblr_m6usyj34Bh1ruz61lo1_1280.png" width="670" height="497" width_o="1024" height_o="760" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/tumblr_m6usyj34Bh1ruz61lo1_1280_o.png" data-mid="19374936" caption="&quot;Resigned/Subdued&quot;&lt;br /&gt; mixed media on canvas&lt;br /&gt; 2012&lt;br /&gt; 30&quot;x40&quot;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;As a more submissive person than dominant physically, I constantly confront the concept of expressing the contrast between the two roles. By using repetitious phases, I produced more than 40 similar figures which choose different viewing planes and levels of visibility depending on the area the viewer is concentrating on. It was my intent the figures would be able to camouflage themselves among the mass, overlapping and confronting the others visually. The submissive pose is challenged by a shade of red which is dominant aesthetically, reacting with both the front of the previous figure and the back of the next, separating them and preventing them from blending in as easily. “Feminine” personalities are often noticed most vigorously when contrasted with a masculine one as they are overtaken in the process of interaction.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 23.jpg" width="670" height="533" width_o="2048" height_o="1629" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 23_o.jpg" data-mid="22256947" caption="&quot;Degradation #1&quot;&lt;br /&gt; acrylic, glitter, gold leaf, and polyurethane on canvas&lt;br /&gt; 2012&lt;br /&gt; 24&quot;x30&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/15. Feminine vs. Masculine withdrawn from humanity.jpg" width="670" height="533" width_o="2048" height_o="1631" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/15. Feminine vs. Masculine withdrawn from humanity_o.jpg" data-mid="19201740" caption="&quot;Feminine vs. Masculine (Withdrawn From Humanity)&quot;&lt;br /&gt; acrylic and polyurethane on canvas&lt;br /&gt; 2012&lt;br /&gt; 24&quot;x30&quot;&lt;br /&gt; &lt;br /&gt; &lt;i&gt;My two painter turtles are an honest portrayal of what nature has taught them. The male, with his brightly colored shell and red markings, eats first. His claws are longer than the female’s. On occasion, he will swim over top of the female and may even use her head and shell as a point to push off from. He remained active over the winter, while she was mostly dormant. When they are sunbathing, he will often rest on top of her, therefore receiving the best light. When I enter the room, the vibrations often send the female diving into the water, while the male remains exposed on the rock until the last second, when he is sure I am indeed approaching. It is interesting to observe the “natural” world and see the direct opposite gender roles of wild animals in relation to humans. Sympathy and chivalry are in fact, a creation of humans in their societal environment. However, manners often disappear when in a life-or-death situation, or even a lesser which risks monetary wealth, power, or health. It is interesting to see how gender-roles differ throughout species, and determine just what behavior is literally “natural”.&lt;/i&gt;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/SCAN0299_31.JPG" width="670" height="487" width_o="2048" height_o="1488" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/SCAN0299_31_o.JPG" data-mid="21083924" caption="&quot;Body Language&quot;&lt;br /&gt; graphite, charcoal, gold leaf, and collage on velum on graph paper (stitched)&lt;br /&gt; 2012" border="0" align="left"/>{image 13}<img src="http://payload69.cargocollective.com/1/8/258620/3684525/2tumblr_m8lxqp6wl41ruz61lo1_500.png" width="500" height="511" width_o="500" height_o="511" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/2tumblr_m8lxqp6wl41ruz61lo1_500_o.png" data-mid="20382230" caption="&quot;...we all fall down!&quot;&lt;br /&gt; acrylic, iridescent medium, gel medium, graphite, stitching, and plant matter on canvas&lt;br /&gt; 2012&lt;br /&gt; 20&quot;x20&quot;" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 07_33.jpg" width="670" height="662" width_o="2048" height_o="2025" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/Harlie Rush 07_33_o.jpg" data-mid="22813918" caption="&quot;Housecat&quot;&lt;br /&gt; acrylic, glitter, gold leaf, and polyurethane on canvas&lt;br /&gt; 2012" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/13. Persian Rug.jpg" width="670" height="670" width_o="1414" height_o="1414" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/13. Persian Rug_o.jpg" data-mid="19162050" caption="&quot;Persian Rug&quot;&lt;br /&gt; acrylic, gold leaf, and polyurethane on canvas&lt;br /&gt; 2012&lt;br /&gt; 36&quot;x36&quot;&lt;br /&gt; &lt;i&gt;I dreamed I’d seen a Persian rug. There was a line of people waiting for this brand of rug, and they were disappearing quickly: they were flying away with their prideful new owners. People kept cutting in line, and I was disoriented. I watched each rug fly away, each brighter than the last, and their appearances blended in my memory once I woke up. Dreams are a significant division of my subconscious that I find crucial to my artistic process. I find myself recalling dreams from earlier dates when working on certain projects; the images I create when in this pure/ undisturbed state of mind often recur when I am conscious.&lt;/i&gt; " border="0" align="left"/><img src="http://payload69.cargocollective.com/1/8/258620/3684525/01.You Focus On Us Collectively.jpg" width="670" height="520" width_o="978" height_o="760" src_o="http://payload69.cargocollective.com/1/8/258620/3684525/01.You Focus On Us Collectively_o.jpg" data-mid="19161937" caption=" &quot;You Focus On Us Collectively&quot;&lt;br /&gt; acrylic and mixed media on wood&lt;br /&gt; 2011&lt;br /&gt; 2'x3'&lt;br /&gt; &lt;br /&gt; &lt;i&gt;My first resolution for 2012 was to begin treating persons as individuals: rather than approaching a person with preconceived judgments and assumptions, I would consider them an individual who would single-handedly frame my perception of them self. This idea was evoked by a history lesson involving war fatalities; we learned many numbers and statistics about those killed, but no names or specific stories, leaving me with an entirely deficient understanding of such an incidence. After experiencing grief in its entirety, I finally understood what it means to lose an individual. The script on the wire the fish hang from states: “I’m a fish… I’m a fish… I’m a fish… I’m a fish… I’m a fish too.” In a sort of child-like way, I have reminded myself to recognize each person as an individual rather than a part of a mass. In a metaphorical fashion, I used imagery of dead fish on display to represent my understanding of each death as a specific impact which happens to be a part of history rather than conversely.&lt;/i&gt;" border="0" align="left"/>