[artist profile]
Rowena Harris (Norfolk, 1985) is a British artist and art researcher based in London. She is currently a CHASE funded practice-based PhD candidate at Goldsmith’s College. Her practice is situated in the porousness between bodymind, matter, and technology. She consider this a fluid space of forces that flow beyond any glossy device we might hold in our hands – a relation no longer limited to what is visible and physical. Working between, sculpture, film and writing, it is often the physical material reality of matter that offers Harris the space to test and explore how we come to sense and make sense of being porous with the world. Within this, and through her research-based approach, she explores moments of impact and difficulty for individual sensing, perceiving, and thinking bodies in the world.
Rowena Harris has exhibited in many institutional spaces, including at Fondazione Memmo, ICA London, Saarländische Galerie Berlin, The Bluecoat Liverpool, The British School at Rome.
[selected works]
Soft Boundaries, installation view at The Gallery Apart Rome, 2017, ph. Giorgio Benni 
Skin on Skin (Looking for my Soul); Skin on Skin (Outlines), installation view at Coversation Piece | Part I, Fondazione Memmo Rome, 2015 
Some people believe the Sun used to be yellow, installation view at Trafó Gallery Praha, 2019 
Being both on and within, as I said, installation view at The Gallery Apart Rome, 2015, ph. Giorgio Benni 
Thinking-Feeling, Feeling-Thinking, installation view at Las Palmas Project Lisbon, 2018
At The Edge of the Frame, 2017, polished concrete, edition of 10 with different cut each, 10x22x10 cm c.a, ph. Giorgio Benni 
Golden Brown Texture Like Sun, 2017, used sun tanning bulbs, aluminium, towel, 53 x 178 x 56 cm, ph. Giorgio Benni 
Golden Brown Texture Like Sun, 2017, used sun tanning bulbs, aluminium, towel, 53 x 178 x 56 cm, ph. Giorgio Benni (detail) 
Golden Brown Texture Like Sun, 2017, used sun tanning bulbs, aluminium, towel, 180 x 75 x 60 cm, ph. Giorgio Benni 
Soft Boundaries, installation view at The Gallery Apart Rome, 2017, ph. Giorgio Benni 
A room within which the computer can control the existence of matter, 2017, HD video, stereo sound, 10’21”, Ed. 5 + 1AP, installation view at The Gallery Apart Rome, ph. Giorgio Benni 
A room within which the computer can control the existence of matter, 2017, HD video, stereo sound, 10’21”, Ed. 5 + 1AP 
After Attenborough, 2017, HD film, stereo sound, 4 mins, online film commissioned as part of the exhibition Tropical Hangover at Tenderpixel London, film still 
Molecolar Multiplicities, HD, Stereo sound, 8’ 30”, film still 
I am the things in my pockets, but in much the same way I could be those things in yours, 2015, concrete, silicon rubber, ph. Giorgio Benni 
Searching for a sense of balance, 2015, a work in three parts, welde steel, lacquer, concrete, chewing gum, bronze augers, cm 28,4x21x6 (part 1), 94 x 113,5 x 9 (part 2), 20x21x9,2 (part 3), ph. Giorgio Benni 
Binary sever, 2015, 3D printed nylon, cm 16 x 14 x 2, ed. 1/3, ph. Giorgio Benni 
The fundamental ergonomics of body meets machine, 2015, neck cushion inflated with concrete, cast silicon rubber, sealed plastic containing one breath, 56 x 30 x 9cm, ph. Giorgio Benni 
Note to self – mine and yours perhaps, 2015, mirror, concrete, cm 25 x 60 x 27,5, ph. Giorgio Benni 
Being both on and with, as I said, 2015, installation view at The Gallery Apart Rome, ph. Giorgio Benni 
Being both on and with, as I said #1, 2015, concrete, internal structure, silicon rubber, artist book, cm 44 x 31,2 x 29,6, ph. Giorgio Benni 
And so we gape, performance, 2015, ph. Luca Mazzara
