Rowena Harris

Double Click (Capacitive Sensing Series), 2012

Uncategorized

Dimensions Variable


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Artwork
Description

33 x 28 x 2cm (X2), Resin, Stock Photo (*2 separate images included), Photographer credit © Original&theCopy

Rowena Harris’ Double Click encapsulates action in stasis. Consisting of royalty-free stock photographs encased in resin, the viewer is presented with a real sense of physicality and weight, despite the two dimensional nature of the images. This is further compounded by the transparency of their container. Almost evocative of paperweights, this bifurcated work explores materiality and the relationship between the individual and their mechanised creation.

This work is derived from the Capacitive Sensing series. The term is borrowed from Electrical Engineering and refers to technologies, such as laptop track-pads, which harness the conductivity of the human body as an input, to create a digital output. In this particular composition the title, Double Click, relates to a physical action translated into a digital outcome but also to a physical one expressed by the manifest content of the images. The click of the pen pressed by the finger; the click of the finger on the hand mixer as it prepares the batter for a cake. Moreover, the click featured in the photographs and the second click, that of the camera, used to capture. The photographs are generic stock photos depicting anonymous hands holding manually operated tools. The manifest double click, compared with the latent one, is a representation of social progress from physical to technological.

The two images are essentially two-dimensional. They require the transparent resin to provide any real weight and physicality. It is the synthetic substance that contextualises the image. The compositional qualities of the piece illustrate an innate dependency of mankind upon technology to provide a sense of freedom, though this freedom is essentially a restrictive social-construct.

About
the artist

Rowena Harris (b. 1985, Norfolk, UK) lives and works in London. She received a BA in Fine Art at University College Falmouth, UK and an MFA in Art Practice at Goldsmiths College, London. In 2014 she won the Sainsbury’s Scholarship for The British School in Rome where she is currently working.

Rowena Harris is a multi-disciplinary artist. She uses materiality to instigate an exploration of the relationship between individuals and concrete artefacts, in an increasingly digitised environment. There is a heavy importance placed upon communication with the viewer, using objects to create a utilitarian discourse, pertaining to everyday entities and their aesthetic value.

In constructing this aesthetic, Harris uses materials such as concrete, Perspex and resin, which are implacably utilitarian; synthetic symbols of the individual's ability to create, but also contain a perceived soullessness, devoid of natural meaning. However, Harris ensures the human is present in all her works; particularly through the representation of hands, symbolising man's innate propensity for creation and suggesting his synthetic creations are ultimately an extension of humanity, a projection of its social consciousness.

Harris’ practice centres upon human perception and furthermore encompasses the phenomenological self into her work. As a result the body becomes part of the composition and comments upon the fact that humanity is defined by its potential to create. As a result, the technological and the synthetic become an extension of the organic. This is enhanced by a sense of individuation, whereby there are several disparate elements connected together, thematically or physically. Digital elements often provide an accompaniment to this, exemplifying the way objects are appreciated, dependent upon the way in which they are encountered. It also suggests the increasing unification of the human in a technologically advancing world.

Harris’ work constitutes an exploration of a shared experience between humankind and its creations, but also highlights the nature of discrete external objects and their unification, facilitated by human perception. The artist's oeuvre exemplifies the way in which humanity is simultaneously unified by a utilitarian desire for progress and individuated by phenomenological experience.


Rowena Harris is a multi-disciplinary artist. She uses materiality to instigate an exploration of the relationship between individuals and concrete artefacts, in an increasingly digitised environment. There is a heavy importance placed upon communication with the viewer, using objects to create a utilitarian discourse, pertaining to everyday entities and their aesthetic value. Harris’ work constitutes an exploration of a shared experience between humankind and its creations, but also highlights the nature of discrete external objects and their unification, facilitated by human perception. The artist’s oeuvre exemplifies the way in which humanity is simultaneously unified by a utilitarian desire for progress and individuated by phenomenological experience.


Rowena Harris
on Artuner

Part of the
exhibition

December 8th, 2014 until
February 25th, 2015
Curated by Kirsty Ogg