http://www.joelhurlburt.com/projects daily 0.75 2019-03-03 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c75a8cee79c708641f8417a/1551214788317/ Projects - Dark Optics Dark Optics is an ongoing project investigating the meeting point of several phenomena and philosophical concepts, ranging from Édouard Glissant's concept of opacity and Hans-Georg Gadamer's concept of horizon, combined with opthalmological phenomena including Tarquair's Island and the blind-spot at the center of vision. These concepts culminate in the development of opaque, or blind, lenses; these lenses are reconstructions and newly designed variations of Fesenel lighthouse lenses. https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bea134192029036a02e77/1551558789639/ Projects https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/568e68ec9cadb62c89095d4d/1452173548444/_1000784.jpg Projects - Snowfall, 2015 Diffuse objects surround us, solids so spread out that we pass within them. This project considers this play of orders of scale. In Snowfall, I use a laser scanner (LiDAR), normally used to 3d-scan architecture, to capture snowflakes “mid-flight" as they fall, mapping each of their locations within a chosen scan area. The scan area is roughly 18 million cubic meters, and over 300 meters tall and wide. I use these coordinates to make the surface of each of the nine objects that are on display in the exhibition. In this way each object is a collection of snowflakes connected, like a 3d version of "connect the dots", and exists within the field of snowflakes as a diffuse object. The objects here represent small-scale models of what are actually gigantic objects.   Exhibited at Gallery Kunstschlager, in Reykjavik, Iceland, 2015 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5689578957eb8dfaac6bc0cf/1451841422196/handform.jpg Projects https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/568e62c81c1210854ed7b3c0/1452171978622/Litmus_Logo_Egg_72dpi.jpg Projects https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5692772740667a56fc8c056e/1452439345902/handform.jpg Projects http://www.joelhurlburt.com/works daily 0.75 2014-10-30 http://www.joelhurlburt.com/text daily 0.75 2015-12-10 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7ab4b024a694cb3c482290/1551545522897/ Text https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7ab553e4966b9abafebb55/1551545685460/ Text https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7ab61324a694cb3c4830cc/1551545877364/konstfack_varutsta%CC%88llning.jpg Text https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7ae25e6e9a7f0c98e8199a/1551557220550/ Text http://www.joelhurlburt.com/convergent-tunnels daily 0.75 2016-01-10 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666f96ae0327c4ed271b1aa/1452435229059/path_meeting.png Convergent Tunnels, 2012-Present - Convergent Tunnels: Schematic nr.02, 2012 My own practice stems from my belief in the ability of a basic curiosity to set a groundwork for a complex system of interconnected facts. Each of these facts is quite mundane, or ordinary, but through their cross-weaving, I aim to emerge with a field of artworks which may arrive at new understandings. Knowledge which is derived from the space between divergent fields of study, which necessarily combines empirical with subjective. A knowledge which in turn invites viewers into the experience of a progression from wonder –– curiosity –– realization –– reflection –– and finally to the possibility of understanding. I think it is important not to determine understanding as an absolute, but rather a potential. It is at the stage of understanding which things begin to become slippery, and I would like to embrace this moment which science rushes past in order to reach the goal of undisputed knowledge. Reflection and it’s fellow traveler contemplation, I believe, are what keep art and it’s audience from sliding into solely objective thought. This process can be achieved through my practice, if viewers are allowed the time to regain that crucial stage of curiosity –– this state where questions intertwine before they have the chance to be answered. I hope to share with them this moment that is so often rationalized away, and in doing so, show what further possibilities are available in the unseen space between fields. https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5692671d1c1210fdda3690f4/1452435229059/path_meeting.png Convergent Tunnels, 2012-Present - Convergent Tunnels: Schematic nr.02, 2012 My own practice stems from my belief in the ability of a basic curiosity to set a groundwork for a complex system of interconnected facts. Each of these facts is quite mundane, or ordinary, but through their cross-weaving, I aim to emerge with a field of artworks which may arrive at new understandings. Knowledge which is derived from the space between divergent fields of study, which necessarily combines empirical with subjective. A knowledge which in turn invites viewers into the experience of a progression from wonder –– curiosity –– realization –– reflection –– and finally to the possibility of understanding. I think it is important not to determine understanding as an absolute, but rather a potential. It is at the stage of understanding which things begin to become slippery, and I would like to embrace this moment which science rushes past in order to reach the goal of undisputed knowledge. Reflection and it’s fellow traveler contemplation, I believe, are what keep art and it’s audience from sliding into solely objective thought. This process can be achieved through my practice, if viewers are allowed the time to regain that crucial stage of curiosity –– this state where questions intertwine before they have the chance to be answered. I hope to share with them this moment that is so often rationalized away, and in doing so, show what further possibilities are available in the unseen space between fields. https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666f960e0327c4ed271b119/1452434491882/Multi_Path_Sketch_3D.png Convergent Tunnels, 2012-Present - Convergent Tunnels: Schematic nr.01, 2012 Convergent Tunnels: Schematic nr.02, 2012 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666f2af2399a3d0289b732e/1452434528920/Multipath_Tunnel.jpg Convergent Tunnels, 2012-Present - Convergent Tunnels: Schematic sketch nr.01, 2012 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666fb2f5a56683eecf00028/1452434571645/PROJECT+PROPOSAL_low.jpg Convergent Tunnels, 2012-Present - Convergent Tunnels: Connections, 2012-Present https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666fcba69492ebd83948faa/1452434288061/JOEL_HURLBURT_2_low.jpg Convergent Tunnels, 2012-Present - Convergent Tunnels, 2012-Present https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623a6afe4b083b724b5844d/5666fcd669492ebd83949160/1452434278408/joel_hurlburt_sketch_1.jpg Convergent Tunnels, 2012-Present - Convergent Tunnels, 2012-Present http://www.joelhurlburt.com/zoetrope-techtonics-2014-present daily 0.75 2015-12-10 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/5623b32be4b0530dc6c60960/56262b71e4b0374f654a1094/1449786540656/ Zoetropic Tectonics, 2014-Present - Zoetrope 1, 2014 (work in progress) https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5669fcacd82d5e26e2581225/1449786540656/ Zoetropic Tectonics, 2014-Present - Zoetrope 1, 2014 (work in progress) http://www.joelhurlburt.com/work daily 0.75 2019-03-03 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf2feca70ecba23b23f72/1551627006262/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf3f6c83025828b40d53e/1551627337808/49028153_296364351014515_8465186244685463552_n%281%29.png Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf5c98165f5e1807ccfcd/1551627712495/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf70715fcc0452a89c473/1452178284964/ Works - The Object at Rest in 100 Views: Specticles, 2013 Teacher: We say that we look into the horizon. Therefore the field of vision is something open, but its openness is not due to our looking. Scholar: Likewise we do not place the appearance of objects, which the view within a field of vision offers us, into this openness… Scientist: …rather that comes out of this to meet us. Teacher: What is evident of the horizon, then, is but the side facing us of an openness which surrounds us; an openness which is filled with views of the appearances of what to our re-presenting are objects. Scientist: In consequence the horizon is still something else besides a horizon. Yet after what has been said this something else is the other side of itself. You say that the horizon is the openness which surrounds us. But what is this openness as such, if we disregard that it can also appear as the horizon of our re-presenting? Teacher: It strikes me as something like a region, an enchanted region where everything belonging there returns to that in which it rests. Excerpt from Discourse on a Country Path, by Martin Heidegger Exhibited at Supermarket Artfair, 2013 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf7b5bc3379ce78b855db/1551628213046/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf825448c8ae1f43ddd94/1551628325733/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf882ca70ecba23b317c2/1551628418311/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bf9d9dbe3974a6d8951d8/1551628761081/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7bfbbd24a694cb3c526eec/1551629238369/ Works https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/568e79af7086d7247d52d8e3/1452177839507/Shovel.jpg Works - With Whom Shall We Bury Your Memories, 2009 Etched steel and wood. Exhibited at Liljevalchs Konsthall, 2011 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/56926b7940667a56fc8bca95/1452177982615/ Works - Reckoning Apparatus, 2005 For the problem is one of focus, of the field as well as the point of vision: you will solve your problem best without displacement   -Charles Olson   It is the visceral quality of the visual world that has held my attention, an inescapable sense of the physicality not only of things but of space itself, the physical quality of space, the space between things. Through the transfiguration of vision, the outer world enters our inner world, but not without changes; not just as any scene is changed by a lens, but through the constant manipulation of this information by our minds before and after it is seen, layering of the inner world over the outer, found, world. A world of layers, layers of volumes.   Exhibited at Ulriksdals Wärdshus, 2005 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/56926e35d82d5eff6cc09f26/1452173363021/pressbild1rorschachstump.jpg Works - Reach Away to the Bottom Being, 2008 Joel Hurlburt has always been interested in combinations, and the space between things. He attempts to navigate between plausibility and the improbable, rather than relying on pure fantasy or strictly replicated reality. The uncanny form functions as a phenomenological reminder of the independent aspect of the life of the brain. A desire to question uses of materials and objects, to question the knowledge and beliefs which viewers bring to things, led to an interest in perception and cognition studies. This interest though is not purely intellectual. In recent years a family connection to neurological disease has come to light, from which subtitle narratives have been derived. The stoic New England family from which he comes and the reserved affect under which it´s men labor, harbors undisclosed suffering beneath a seemingly impenetrable surface. Subjects of masculinity, memory, and spatial perception are recurring themes in his work, and are informed by philosophical texts and writers including Gertrude Stein and Walt Whitman. The results are forms of physical contemplation, reflecting a wandering search for answers through humble means. Exhibited at Gallery ID:I, in Stockholm, Sweden, 2008 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/569270154bf1182ee6ff4a6a/1452178073070/joelhurlburtpressbild.jpg Works - Trouble in the Stairway, Trouble in the Hall, 2009 Continuous present is one thing and beginning again and again is another thing. These are both things. And then there is using everything. - Gertrude Stein What we see is never the entire picture. The continuous passage of time makes unintelligible the composition of present events. While looking back gives a more informed perspective on the past, it smothers the ambiguities embedded in each moment. We are always in the present, which we ourselves obscure. Exhibited at Gallery Studio44, 2009 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5692711ae0327c8c422d96c0/1452165652012/joel_hurlburt_05.jpg Works - Semantic Projections, 2014 Photo Credit: Peder Björkegren The installation Semantic Projections explores various modes used to understand the world: through reading a text, experiencing an object, or interpreting a gesture. Encased within a vitrine in the center of this dim room are six crystal geometric forms, together representing the Greek classical elements: fire, earth, air, water, aether, and the void. Projected on one wall is a short text, inspired by a cognition test developed in the late 1970’s. It reads alternately like a poem, and a mathematical word problem. Projected on the other wall is a video of hands floating in darkness, which methodically outline the same six forms through careful gesture. The gesture is temporal like language and physical like form, but it is also uniquely—and explicitly—corporal, relating to the body in a visceral and intuitive way. The gesture serves as an intermediate form of communication that lives between ephemeral language and physical form. The work explores perception and meaning, language and form—and their inherent ambiguity. By reambiguiating such elements, Semantic Projections presents a situation where the viewer is first confronted with his/her own body in space, through entering and reorienting in the darkness. After navigating this space, one is then confronted with a mix of confounding and seemingly incomplete information. While at first glance the text seems simple, its meaning is opaque and rather limited; it describes other knowledge not present. The crystal objects are definitive in space and form, yet they remain illusive. The hands are made alien through cloaking the entire body to which they connect. Misunderstanding and confusion can result as much upon entering the space as when focusing on all the possible points of view. Such confusion is part of the experience of being present, and just as one seems to always cast a shadow onto the surfaces of the vitrine while reading the text, the presence of new surroundings cast a shadow on the individual. One is potentially left wanting; wanting for answers, or wanting for more information. If this feeling lingers, it can be termed, persistence of interest. This the urge of curiosity and frustration which leads you to seek new knowledge elsewhere, outside the installation. Reambiguity requires a realignment of understanding that is only possible in the first person. The https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/569271ae05f8e20707856627/1452165757444/ Works - These, How Do You Say, These Gestures of the Hands, 2014 In this work a short portion of the documentary film, Derrida*, plays on a TV set before a mirror. The image on the TV is reversed, and is seen readable in the mirror facing the TV. *Dick, K., and Ziering, A. (directors), (2002), Derrida, segment used with permission as part of my thesis work. http://www.joelhurlburt.com/joel-hurlburt daily 1.0 2019-03-03 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7c4db3e4966b9aba0ccdf2/1551650234123/DarkOpticsAndThickFilm2.jpg + http://www.joelhurlburt.com/contact daily 0.75 2015-12-11 http://www.joelhurlburt.com/about daily 0.75 2019-03-02 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5c7abc4db208fcd4071b0958/1551547500882/Joel_avatar.jpg About https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/544c11f1e4b0f81e05ea8c21/1414271473577/ma_apr_joel_hurlburt_3.jpg About http://www.joelhurlburt.com/news daily 0.75 2019-03-02 https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/5457c749e4b007efb2123903/1415038794172/P1000646.JPG News photo: Jim Baker https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/553cddede4b09e094f8c13bc/1430052339058/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54579c13e4b007efb2119ac7/1415027734456/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54c3de11e4b0a94b97c278f7/1422122517970/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54579ad4e4b063d88f7c2cfd/1415027412407/620px_Sve.jpg News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54579cd5e4b0bd88530d8170/1415027927645/semanticprojectionposter.jpg News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54c3dfd9e4b0e75db38855be/1422122975743/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/553cdacce4b0e618515e2317/1430051532473/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54565747e4b0462605b8c631/1414944583534/iaspis_logo_engelsk_40mm72dpi.gif News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/54579f0de4b0880577118324/1415028494075/ News https://static1.squarespace.com/static/544beeb3e4b0cfe048fc13a8/t/553cdc9ee4b0306f5b6cd532/1430051999040/ News