2014, water jet cut aluminum, rivets, slip cast porcelain, plywood, fluorescent light, photo credit: none
2015, water jet cut aluminum, maple plywood, laminated maple, ceramic, bronze, dimensions: “Wad (couvade)” (in foreground) 62” x 80” x 68”
2015, aluminum foil, 3/4” x 1/2” x 1/2”
2015, hand built earthenware, glaze, gold luster, 16” x 16” x 78”
2015, water jet cut aluminum, pop rivets
2015, hand built earthenware, powder coated steel, plywood
2013, Slip Cast Porcelain, graphite on vellum, drawing 60” x 48” vessels each 10” x 6” photo credit: Peter Lee and Northern Clay Center
(installation View from “Overthrown” exhibition at the Denver Art Museum), 2011, slip cast black porcelain, press moulded and glazed earthenware, dimensions: variable, Tile wall in foreground 13’ x 9’ x 18” deep
2014, ceramic, plywood, oak, cedar, epoxy, stainless steel, photo credit: none
2014, hand built and glazed earthenware and slip cast porcelain, photo credit: none
Artist Statement
The potter Hamada Shoji said that a good bowl should be larger on the inside than the outside. My work is an ongoing exploration of the possibility that a tactile physical form might contain an expansive interior, a generous space, a site for the imagination and the thinking of thoughts, both intimate and immense.
I’m interested in objects with interiors and also the spaces between them. Still lives, diagrams, molecules, tilings, and aggregations each demonstrate the possibility of arrangements to be both complex and organized, formal and narrative, abstract and personal.
My vocabulary of materials has been selected over time for their individual properties and for the way they perform as parts of a larger system. Aluminum for its lightness and sheen, clay for it’s mutability of form and color, wood for its warmth and flexibility. Together they allow for a kind of material syntax.
I work through a combination of old media and new media; forming clay directly by hand or in tandem with digital modeling and computer controlled machines. This way of working demands a continuous movement between the abstract and the concrete, between information and manual skill. The potency of this combination seems to come from the resistance it creates. The made thing demands a bodily commitment, providing an insistent reminder that even thinking takes shape through the textures and friction of the mind.
-- Del Harrow
Bio
Del Harrow lives and works in Fort Collins, CO with his wife, potter Sanam Emami and their son, William. He is an Associate Professor at Colorado State University where he teaches Sculpture, Digital Fabrication, and Ceramics. His art practice spans genre’s of sculpture and design, and integrates traditional manual and skill based forming pro-cesses with digital fabrication technology. Harrow has been invited to lecture widely on his own work and on the intersection of digital fabrication and craft in contemporary art and education. Recent lectures include Syracuse University/The Everson Museum of Art, The Auerbach Endowed Lecture Series at Hartford Art School, CT, and the Current Perspectives Lecture Series at Kansas City Art Institute. His work has been exhibited recently at The Milwaukee Art Museum, The Denver Art Museum, The Arizona State University Art Museum, Vox Populi Gallery, The Museum of Fine Art in Boston, Haw Contemporary in Kansas City, MO, and Harvey Meadows gallery in Aspen, CO.