Pro Patria : A continuous series 2009-2015
Artwork presented in the context of a solo exhibition, which investigated the liminal borders between art and architecture, and their shared use of collage.
- Submitting institution
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Kingston University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-47-1705
- Type
- L - Artefact
- Location
- De La Warr Pavilion, Bexhill-on-Sea, U.K.
- Open access status
- -
- Month of production
- April
- Year of production
- 2015
- URL
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https://www.markharrisworks.com/selected-projects/project-six-2ds7k
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Pro Patria – A Continuous Series 2009–2015 was a solo exhibition at the De La Warr Pavilion, Bexhill-on-Sea, 24 April–31 May 2015. Harris was invited by Chief Curator Jane Won to present an overview of his work The Continuous Series. He also produced the new series Pro Patria (two prints, three collages and nine sculptures) specifically for the show, which was envisaged to partner an exhibition, in the accompanying De La Warr Pavilion galleries, of the artist John Stezaker’s films. Both Harris and Stezaker share practices that are informed by the use of found and collaged image. None of the work had been exhibited in the UK before.
Both series presented Harris’ ongoing research into the liminal borders between art and architecture, and their shared use of collage. Shields’ publication Collage and Architecture (2014), which explores historical commonalities of architectural and artistic practices through the process of collage, influenced Harris’ ideas. The work set out to explore the way that collagic process supports idea-generation and decision-making in the design of imagined architectural schemes. At this first stage of the creative process, both artist and architect are working in similar environments. As the work evolves, the artist can remain unrestrained by the complex external practicalities that will inevitably affect the architect’s outcomes. Harris’ series Pro Patria embraced the collaged and layered history of the iconic De La Warr Pavilion building, which provided an appropriate setting for this body of work. The series was further influenced by research into Frank Lloyd Wright’s model of Broadacre City and the die-cut books of Dieter Roth. This led to new outcomes of architectonic models, collages and prints. Through this work, Harris explored collage as a tool that can help both artists and architects study the history of the urban landscape and navigate its complexity.
- Author contribution statement
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- Non-English
- No
- English abstract
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