JTT is pleased to present Celtic Cross, Charles Harlan’s third solo show with the gallery.

On view are nine sculptures laid out in the Celtic Cross tarot spread, each an interpretation of a specific card. While the show takes a tarot reading as a starting point, interpretation itself is the central focus of the show.

A Celtic Cross reading begins with two cards laid on top of one another revealing what covers the querent and what crosses them, or the question at hand. It then progresses to what the querent needs to focus on, their past, their future, how they should approach their challenge, what is urgent for them to know, what are their hopes and fears and finally, what will come of it.

Cover/Cross, 2021 consists of two cylindrical basins, each made of a different type of die cut powder coated sheet metal, one black and one white. These basins are a reference to the II of Cups card, which features two opposite figures in harmony and reciprocity. Above the basin is a marble countertop that holds seven tools such as a rake, a hoe and an edger. These reference the VII of Wands, a card that represents struggle, dynamic energy and action. The II of Cups covers while the VII of Wands crosses. Harlan has incorporated marble countertops into much of his work, as it is both an art historical sculpting material, and an object found in the American domestic landscape.

In Hopes and Fears, 2021 four fish tanks sit on white plaster blocks, two filled with olive oil and two filled with palm oil. They are divided by the same powder coated die cut metal as seen in Cover/Cross, 2021. This is the Ace of Swords in the hopes and fears position.

Around, 2021 is a triptych, each a crab trap on top of a mirror with a concrete base. These refer to the Judgement card which is meant to reveal that which is hidden under the surface, and an opportunity for renewal. The viewer can see themselves reflected in the traps. These specific crab traps were also once used by the artist’s father.

What card is behind each sculpture on view is less relevant to the show than the relationship between the querent and the reader. One seeks guidance from one who interprets. This is similar to the fluid relationship between the artist and viewer, each interpreting and reading the objects at hand according to their arrangement and positioning. Harlan’s larger practice often appropriates building materials with minimal alteration to contemplate their materiality, use, and the context that produced them. Celtic Cross takes a deeper dive within, asking what a material might reveal about an individual and their journey to understanding.