During the 1990s, Rachel Harrison developed an eclectic sculptural language in which abstract forms are juxtaposed with seemingly ignoble materials (jars of honey, aluminum cans) and peppered with pop-cultural references. The resulting works, which mix the seemingly incommensurate languages of Minimalism and Pop, are powerful both as three-dimensional structures and as assemblages of two-dimensional imagery.
Looking into Rachel Harrison’s work, I was fascinated by her weird sculptures and their relation to other objects. As as weird as it looked, they somehow manage to work together in the finished pieces. I think this showed me that effect of having more common being alongside an almost out of this world structure can somehow make it seem slightly more logical strangely.