ABOUT
Harry’s work explores the expanded field, focusing on the space that his artwork inhabits, aiming to create a relationship between the artwork and the space. As a painter, this particularly focuses on the importance of the wall as a framing device. This began because he wasn’t interested in painting on the traditional, flat, stretched canvas, the expanded field offered an outlet to create paintings that were less linear, less pictorial, which created an environment where his art could be more flexible. As his work progressed, the white walls of the gallery began to frame his work similarly to the way that the canvas stretcher did, which led him to pursue the notion of installation and site-specific work to liberate himself from this entirely. This all meant that his paintings are often less focused on creating a picture on the wall, but rather bringing importance to the materials involved in the painting process as well; this results in his work becoming a celebration of the genre.
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His early work was heavily influenced by the School of Paris artist Chaim Soutine, creating pieces that were particularly visceral by enjoying the painting process and working intimately with medium. This led him towards Artists like Auerbach, Karla Black and Simon Callery, all of whom engage directly with their genre of art. This led Harry to explore texture and shape in his paintings, he wanted to be able to create work that was more engaging and began to separate his work from the traditional canvas frame. He ended up using meat as a subject matter, which he liked mostly for its textural qualities, the visceral nature of meat offered itself as a striking, eye-catching subject matter, but the variety of exciting textures in meat was a good foundation for his paint and technique to respond to. His goal was to make work that was particularly tactile, this sensory element played a big role in the experience for him, as working in abstraction offered him an opportunity to make art that was more appealing to other senses than just sight, creating art that you could feel just by looking at it was an exciting experiment.
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His recent studies have mostly been influenced by artists such as Herbert Ferber, Ian Davenport, and Mondrian. The use of pipes offers a foundation to circumvent painting traditions, whilst still working in a way that interacts with the gallery space. Working with drainpipes draws attention to the relationship between wall and painting, loosening the boundary between the two elements. This is complemented by his exploration of canvas and paint, which grounds his work to the practice of painting by working directly with the two most important materials to the practice.
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He often considers new, more effective outlets for his exploration into the expanded field, Harry views his practice as a form of artistic research, and deliberately aims to make his experiments with material and space the focus of his work. Whilst his work is becoming more and more sculptural, he still considers his work to be painting, and wants to continue a practice that engages with painting whilst pushing off the gallery wall, or even out of the gallery space entirely.