{"id":31106,"date":"2015-11-13T19:31:09","date_gmt":"2015-11-14T00:31:09","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=31106"},"modified":"2015-12-14T19:54:36","modified_gmt":"2015-12-15T00:54:36","slug":"jesse-harris-paths-at-cooper-cole-gallery","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=31106","title":{"rendered":"Jesse Harris: PATHS at Cooper Cole Gallery"},"content":{"rendered":"

On the lower level of the Cooper Cole Gallery the strobe light bleeds into the edges of the main entrance leading curious viewers down to Jesse Harris\u2019 solo exhibition. Instantly the eye is drawn towards the mysterious room and it\u2019s distinct sign inspired by San Francisco\u2019s staple punk spot, 924 Gilman Street Project.\u00a0<\/span><\/p>\n

\"\"<\/a>Jesse Harris’ poster. Photo: Rhiann Moore<\/p>\n

The sign, the strobe light, and the vinyl works all come together to create what the gallery owner referred to as the inclusive ethos of the punk movement. The strobe light is intense and shocks the system, but it\u2019s also reminiscent of a time that the world has largely moved past. Jesse Harris recreates a time of unexpected diversity and severity in music.\u00a0<\/span><\/p>\n

\"\"<\/a>Jesse Harris, Isocrasy Crowd, 2015, Vinyl on steel, 7″ x 5″. Courtesy of Cooper Cole Gallery<\/p>\n

A vinyl plotter is used in the style of an etching, rather than a knife scratching the records in order to leave impressions of 80\u2019s photographs on the vinyls. The title PATHS<\/em> harkens to the lines that are drawn on the records as their plotted paths retell the story of the punk movement. Thematically, the plotting seems to be leaving its imprint on the records, as if the punk movements influence on music has left an utterly unique mark. The photographs are part of the music as much as the music is part of the photographs.<\/p>\n

\"\"<\/a>Jesse Harris, Isocrazy 1, 2015, Vinyl on steel, 5″ x 7″.\u00a0Courtesy of Cooper Cole Gallery<\/p>\n

The photographic records of the punk movement printed on actual vinyl records seem to comment on the influence of the music scene on non-musical art forms. Although Jesse Harris is not a musician it\u2019s clear how punk music fueled this specific project. The works are Jesse Harris\u2019 way of making an album without actually producing any original music.<\/p>\n

\"\"<\/a>Jesse Harris, selfie. Photo: Rhiann Moore<\/p>\n

Overall the tight space projects the intimacy and inclusion of the punk movement. Everything about the exhibition, down to Harris\u2019 bonus bathroom selfie (picture above), works to recreate the intensity of an unforgettable time in musical history.<\/p>\n

Rhiann Moore<\/p>\n

*Exhibition information: November 6 – December 12, 2015,\u00a0Cooper Cole Gallery,\u00a01134 Dupont Street, Toronto. Gallery hours:\u00a0Wed \u2013 Fri: 1 \u2013 6 p.m., Sat: 11 a.m. \u2013 6 p.m.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Rhiann Moore<\/strong><\/p>\n

Although Jesse Harris is not a musician it\u2019s clear how punk music fuelled this specific project. The works are Jesse Harris\u2019 way of making an album<\/p>\n

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