Party Mix

Good Grief Gallery, Hobart, Tasmania. 2024

Party Mix Promotional Image. Collage and design by Harry Holcombe-James. Photo by Harry Holcombe-James 2024

Party Mix is a collection of works by Harry Holcombe-James. Party Mix brings together some of Harry’s explorations in portraiture, our engagement with technology, and the macabre through a range of media. This exhibition includes still and moving images, lighting designs, and introduces dark room experiments for his upcoming major work, PACIFY.

Party Mix. SELF Blue (2021), Reclaimed Glass Shade Lamps (2023), Receive (2019). Photo by Harry Holcombe-James 2024

Party Mix. Pink and Green, Green and Pink (2023). Photo by Harry Holcombe-James 2024

Party Mix. Receive (2019), Yellow Field (2019), My Dad (2018). Photo by Harry Holcombe-James 2024

Party Mix. Receive (2019). Photo by Harry Holcombe-James 2024

Party Mix. Dead Flat Bird (2023). Photo by Harry Holcombe-James 2024

Party Mix. Dead Flat Bird (2023). Photo by Harry Holcombe-James 2024

Party Mix. SELF Blue (2021). Photo by Harry Holcombe-James 2024

Party Mix. Pacifying Object (2023) 3D print of artists 3D scanned head. Photo by Harry Holcombe-James 2024

Party Mix. Glass Shade Lamps (2023), Photo by Harry Holcombe-James 2024

Party Mix Promotional Image. Collage and design by Harry Holcombe-James.. Photo by Harry Holcombe-James 2024

In the ever-expanding landscape of technological advancement, a profound distinction emerges between traditional tools and their modern counterparts, unveiling a nuanced evolution in our interaction with the world. Traditionally, tools stood as distinct entities with inherent qualities, existing independently of human presence. From the artisan’s chisel to the musician’s piano, mastery was the key, demanding a certain level of skill, training, and knowledge for users to unlock the full potential of these instruments. Techniques, intricate details, and persistent practice became rites of passage, elevating human potential to unparalleled heights as tools became extensions of the user’s skills and craftsmanship.
In contrast, modern devices manifest as responsive and adaptive entities, finely attuned to our evolving psychological needs. Engineered to fulfil specific functions or goals, these devices transcend the barriers of expertise. For instance, consider the stereo and recorded music – a technological marvel that eliminates the necessity for intimate knowledge of musical instruments. With minimal effort and specialised knowledge, users can summon the auditory wonders of a symphony or the rhythmic beats of their favourite song. Devices act as facilitators, responding to our desires and needs without demanding the arduous journey of mastery inherent in traditional tools.
Transitioning from the realm of tools to the human experience, the analogy of pacifying objects provides another layer of insight. The internal distress of a crying or whining baby, rooted in wants, needs, and desires, calls for attention from a caregiver. Pacifying objects, such as a dummy designed as an analogue of the nipple, play a role in soothing the child by triggering a sucking reflex. Other forms of pacifying objects seemingly aim to distract, presenting stimuli within the baby’s immediate attention to induce calm and relaxation. Here, our subjective experiences find external expression through these objects, effectively removing distress from within.