"Some work greets you at the door and says' "Hi Honey. You're home!". Not mine.

My work meets you at the door, tears open your shirt, French kisses you deeply and then whispers in your ear, "Now I'm gonna fuck you!". The work is efficacious."


Marshall Harris’ works of graphite on Mylar are large in scale and meticulous in detail.
What he calls his Sketches are representational narratives that … “are created to generate an emotional connection between the work and the viewer–– the same type of evocative experience I have when I create them.” His works stick in your mind, refusing to be dismissed. They demand your examination.

Harris’s photo-suggestive representations — whether the subject is a vintage western saddle, an antique pistol or a nude figure study — replicates life fully, to the tiniest  detail. Although the observer realizes they are viewing a drawing, they’re drawn closer to investigate the rendering’s accuracy. In studying an object the way Harris does when he creates the work, the viewer engages in “a way of seeing that is much different than just looking,” Harris says. “Seeing something demands intense inspection and consideration of every nuance, each fold and flaw, bump and bruise, cut and scratch, down to the very last stitch or hair follicle. It forces your wonder: how did all that get there? It’s that sort of introspection that grants relevance, realism, history and context to everything in our world.”

"My current experimental process is my attempt to create drawings with more dimension and depth I am working in what I call a “negative drawing” technique. In this process I will draw an object using graphite on Mylar as if it were inverted, like a film negative we used to use to make photographs in a dark room environment. Lights are darks and darks are light. This process doesn’t allow my mind to make up details or fill in the blanks or collapse the depth of field which happens when I draw conventionally. When the finished drawing is digitally scanned, inverted and printed the result is a positive portrayal of the original object. This process allows me to capture soft focus and highlights, specs of dust and deep recessed shadows that would be difficult or impossible using a traditional means of drawing. The drawing and it’s counterpart (the reversal digital print) are meant to be exhibited together so that the viewer can grasp the concept of a negative original image resulting in a suggestively photographic positive image."
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