Howard Harris: Pioneering Techspressionism and Redefining Perception Through Light, Movement, and Abstraction.

Howard Harris is a contemporary artist whose work embodies a profound dialogue between technology and aesthetics, ushering in a new wave of digital expressionism—Techspressionism—within photographic art. His art confronts the essence of perception itself, challenging how we view and interpret the world around us through his dynamic use of abstraction, movement, and light. His mastery lies in creating works that are not just images but experiences, layered with complexity and fluidity that shift with the viewer’s perspective. Harris is a visionary artist whose work deserves critical acclaim for its ability to marry innovation with a timeless sense of beauty.

In the rapidly evolving art world, Harris’s work stands at the forefront of digital experimentation while maintaining a deep connection to the universal principles of design. His art isn't merely a reflection of technological prowess; it’s an investigation into how we perceive reality, making his work both intellectually stimulating and aesthetically captivating. Each piece in Harris's portfolio carries an almost kinetic energy, where the interaction of light, movement, and material invites viewers to immerse themselves in a visual experience that evolves with every glance.

The "Dance of Light." feels like a poetic tribute to the intangible nature of light itself. The swirling forms, rendered with precision and a sense of movement, give the impression of light dancing on a delicate stage. The image is layered with abstraction yet grounded in a palpable reality, evoking the works of abstract masters like Wassily Kandinsky. Much like Kandinsky, Harris transforms the ephemeral into something tangible, using abstract forms to convey emotion and energy. But Harris goes further by embracing modern technology—his images are presented on an aluminum surface, which enhances their luminosity and depth, much like the way Kandinsky explored spirituality through abstraction. The shimmering effect of Harris’s aluminum prints mirrors the ever-changing light, turning a two-dimensional surface into a three-dimensional experience.

In "Fancy Pigeon," Harris taps into the beauty of nature, capturing the essence of a creature often overlooked in art. The intricate detailing of the feathers, emphasized through a surreal play of light, elevates the pigeon to a creature of almost divine grace. The lines and contours seem to pulse with life, much like the work of Henri Cartier-Bresson, who also found extraordinary beauty in everyday subjects. Harris, however, pushes this further by abstracting the image, distilling it down to its core elements—light, texture, and form. The piece transcends a simple photograph; it becomes a meditation on the interplay between nature and perception.

One of Harris’s standout pieces, "NY Pencils," offers a stark, almost futuristic view of a cityscape that seems to float between the realms of the real and the imagined. Here, Harris deftly uses the skyscrapers as symbols of human ambition and technological advancement, reminiscent of the grand urban landscapes of artists like Andreas Gursky. Yet, Harris's approach is unique in how he manipulates light and structure, creating a vision of the city that feels both familiar and alien. The way light threads through the towering forms speaks to a deeper philosophical exploration—the idea that perception is subjective and that our reality is often shaped by our emotional and psychological state. The subtle grid superimposed over the image adds another layer of complexity, suggesting a structured order beneath the chaos of the urban environment.

Harris’s work on animals also deserves particular attention. In "Zebras," the animals are rendered with a surreal quality that plays on the contrasts of black and white, echoing the visual tension found in the works of Op Art pioneers like Bridget Riley. The zebras are abstracted yet instantly recognizable, and the swirling lines of their stripes seem to dissolve into the background, creating a mesmerizing sense of motion. It’s as if the zebras themselves are on the verge of vanishing, captured in a fleeting moment of movement. This piece speaks to the fragility of existence and the constant flux of the natural world, themes that resonate deeply in today’s era of environmental instability.

“Tortured” is perhaps one of Harris's most emotionally charged works. The dark, almost grotesque form at the center of the piece exudes a raw intensity that is both captivating and unsettling. The lines of light that seem to emanate from the figure evoke a sense of entrapment and release, as if the subject is caught in a perpetual struggle. There is a clear connection to the existential themes explored by artists like Francis Bacon, whose distorted figures also spoke to the human condition's darker, more tormented side. Harris, however, brings his own voice to this narrative by using light as both a literal and metaphorical tool. In "Tortured," light is not just an aesthetic choice but a symbol of hope, resilience, and the possibility of transcendence.

Harris’s fascination with animals reaches new heights in "Cheetah." The vibrancy of this piece is nothing short of breathtaking, with the cheetah's form dissolving into a network of light and color. Here, Harris seems to be exploring the essence of speed and grace, capturing the fleeting nature of time itself. The use of vibrant, almost electric colors lends the piece a surreal, dreamlike quality, reminiscent of Salvador Dalí’s hyper-realistic dreamscapes. Yet, where Dalí delved into the subconscious, Harris remains focused on perception and how our inner world shapes the outer one. This piece is both a celebration of the natural world and a commentary on its ephemeral beauty.

The philosophical underpinnings of Harris's work become even more evident in "Evolving." This piece, with its abstract human forms, speaks to the evolution of humanity in an age dominated by technology. The figures are stripped of individuality, rendered in golden hues that suggest both vitality and uniformity. The piece raises profound questions about identity, progress, and the cost of technological advancement, drawing comparisons to the dystopian themes found in the works of Nobel Prize-winning author Kazuo Ishiguro. Like Ishiguro’s characters, Harris’s figures seem caught between progress and loss, between the promise of a new world and the nostalgia for what has been left behind.

In "Face Off," Harris returns to the theme of duality, exploring the tension between two opposing forces—light and dark, self and other. The mirrored forms of the heads suggest a confrontation, not just between two individuals but between two facets of the same being. It’s a deeply introspective piece, one that invites viewers to reflect on their own internal struggles and the ways in which we are constantly negotiating between our different selves. The simplicity of the composition belies the complexity of its themes, much like the work of renowned minimalist Donald Judd. Harris’s ability to evoke such depth with such a restrained visual language is a testament to his mastery.

“Deep Thought” encapsulates Harris’s entire philosophy of art. The swirling, hypnotic forms seem to draw the viewer into an endless void, where time and space cease to exist. It’s a piece that speaks to the nature of thought itself—fluid, ever-changing, and infinite. The almost psychedelic quality of the image is reminiscent of the works of contemporary digital artist Refik Anadol, who also explores the intersection of technology and human cognition. Yet Harris's work feels more grounded in the real world, using abstraction not to escape reality but to better understand it.

"Oculus" offers a more playful, almost cosmic exploration of perception. The concentric circles of light seem to pulse with energy, creating a sense of depth and motion that is both mesmerizing and disorienting. The piece feels like a visual representation of the act of seeing itself, with its vibrant colors and precise lines coming together to create a hypnotic effect.

Harris’s work is a vital contribution to the contemporary art scene, offering a unique blend of technological innovation and aesthetic beauty. His ability to weave together light, form, and movement into complex, multi-layered compositions places him in the same league as some of the great modern masters. His art is not just a visual experience but a philosophical one, inviting viewers to question their own perceptions and engage with the world in new and profound ways. Harris’s place in the contemporary art market is assured, and his work will undoubtedly continue to influence future generations of artists.

Howard Harris’s body of work represents a remarkable convergence of cutting-edge digital techniques and timeless artistic principles. His ability to challenge our perceptions of reality, while offering visually stunning and intellectually engaging compositions, sets him apart as a true pioneer of Techspressionism. By harnessing the power of light, movement, and abstraction, Harris creates a dynamic dialogue between the viewer and the artwork, transforming the act of seeing into a deeply immersive experience. His innovative approach not only redefines the boundaries of photographic art but also opens new avenues for exploring the intersection of technology and human perception. Harris’s work is a testament to the evolving nature of contemporary art, and his contributions will undoubtedly leave a lasting impact on the art world.

www.hharrisphoto.com

Howard Harris

Mitchell Gibson

Michael Kaphengst