When the West Wind ripped the river's tunic
the river overflowed its banks
to pursue and take revenge;

عندما مزقت الرياح الغربية سترة النهر

قاض النهر من ضفافه

للمتابعة والانتقام


The Mausoleum Sculptures is the first series of twenty four sculptures that specifically attempts to broach the subject of man's incessant desire to construct visual monuments and leave them with the full intention of asserting claims to the presence of a past, present, and future life.  With the Mausoleum Sculptures it has been the intention to intuitively construct a whole spectrum of visual conduits that express the idea of homage, devotion, geographic locations, love and tragic loss.




The Stockade Sculptures are sculptures of necessity, made for these troubling times. They recall the time of childhood fortresses and defensive bulwarks spontaneously constructed with whatever materials there were to hand. As adult contemporary sculptures it was personally imperative that the sculptures emanated a visual scent, that they reeked of intimidation and violence.  Again, the materials that are used are of the found and scavenged variety that by design further added to a sense of desperation and the absolute need for staunch resilience in order to defend oneself, one's loved ones, territory and the moral principals that one stands for.  They are sculptures that I hope visually function in resonating the qualities of a psychological defence, a mode of striving to survive in the face absurd odds and the inevitability of one's own death. My wish was and is, for the sculptures to provide clues that also reveal a code of optimism and a visual keynote for contemporary survival in a world of escalating violence and social contempt.

The People Who Came From The Sea

Wood / Glass / Stone / Clay / Wax

Desperate times calls for desperate measures. This new series of sculptures are firmly rooted in the speculation of the past, the present and the future. At this point of civilization's existence we are finally beginning to enter the sphere of recognition and admission that whatever the shape or form of  the gods we have made up, none of them existed in anything other than an abstracted form of unrealistic existence. We have committed personal fraud. We have for generation after generation passed the poisoned chalice onto our children in order to affirm and justify our own spiritual shortcomings. I am and always have been an enthusiastic supporter of protestation. I want positive discourse over a dulling illusional harmony. I view discourse as mankind in a positive cycle of growth and development. This series of sculptures are an introspective view of us as mortal man. The visual order of my thoughts and speculations has created a manifest and project that is imbued with a pragmatic order and visual logic. It is an order of three phases; That we evolved from the sea. That we existed, multiplied and developed on dry land until we had exhausted and destroyed the resources of the planet. A planet that we then abandoned and departed. Or as we with optimistic grace would wish, we saved the planet but travelled beyond the solar system as part and parcel of the pre-ordained factor of our evolutionary progress. The vocation of a sculptor is one of accepting a visual challenge, of speculating, submerged in the mire of a nonsensical arena of thoughts, facts and ideas in order to create a resonating pragmatic visual form of abstracted translation. A translation of which has the ambition to reach beyond the retina of just looking. To surpass merely the stage of seeing and arrive at the possibility of forming an uncoded relationship based upon the principle of something instinctively recognised. Something about ourselves, that is not determined by  `the gods´  but rather a submissive embrace of our own diminutive reality. A reality that really is prepared to struggle with, where we came from, what  we doing now and where we are going.            Galvin Harrison, Copenhagen  2017.

The Megalopolis Project

The Megalopolis Project  - Galvin Harrison  + T.N.G. is a multi faceted sculpture installation that will comprise of 2400 sculpture elements conceived by  Galvin Harrison as a participatory social installation project. The project is purposely designed for the inclusion and active participation of students,  public institutions and private commercial concerns as part of an `organic´ construction process. Design drawings have been made with the assistance of the architect, Birgitte Katborg Laursen.