Howard Harris

Howard Harris’s photography does not seek to freeze the world, but to engage with its inner mobility. Each image is conceived as a space of perception—unstable and sensitive—where what is seen depends as much on light, angle, and distance as on the viewer’s state of mind. Drawing on a background shaped by design and formal thinking, Harris approaches the image as an active construction, capable of transforming through the act of viewing.

Starting from a single photographic capture, he gradually shifts reality toward zones of abstraction, without ever severing its connection to what was observed. An architecture, a body, a fragment of the world becomes a field of chromatic and spatial tensions, crossed by rhythms and lines that seem to reorganize themselves over time.

His work invites the viewer to slow down, to look differently, and to accept that perception is neither fixed nor universal. To look at a work by Howard Harris is to enter into a dialogue in which the image does not impose itself, but reveals itself progressively, through an intimate relationship between material, light, and gaze.