Patrick Harris

Patrick Harris

Patrick Harris Artist artworks for sale

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  Artist: Patrick Harris
 Live in: Santa Fe, NM, United States
 Artworks for sale: 93.00
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Patrick Harris Artist Bio:

The paintings are a kind of social speech - engaging contemporary themes in the poetic avocation of painting. The work was very colorful until this year. I then decided to mollify the visual impact generated by color and now paint with a palette of black, white and robin’s egg blue. The earlier, brightly colored works emphasized content by using a cinematic arrangement, placing multiple canvases in sequential order, like an old-fashioned zoetrope. One sequential painting, Mother’s Milk (1995), is a landscape in the shape of a Guernsey cow, all its milk draining out in nine panels. Prior to 1998, the cinematic paintings were impasto and over an inch thick. After 1998, I shifted the paintings’ material substance from thick to thin. The ‘thin’ works explored seemingly preternatural elements in our daily lives. The Pollock –Krasner Foundation provided critical financial support for this body of work, awarding a $20,000 grant in October of 2000. Ten years after, another set of works received support. These paintings comprised the ManTrap project, which examined themes of life and death on a small lake in Minnesota. A grant of $4,459 from United States Artists in Los Angeles funded this series in 2011. I am now creating a series of paintings that resemble flags. Some employ cruciform designs that are apparent when the painting is installed vertically, charging it with iconic symbolism. Other flag paintings include Bipolar Blue (2013) and Bipolar Red (2013). Two other paintings, Anthem (2013) and Milk (2013), directly reference “Flag” (1954) by Jasper Johns. A white, negative image of a dodo replaces the stars located in the canton area in "Anthem". In "Milk", a white, negative image of a Guernsey cow with a topographical map on its side displaces stars in the canton area of the flag. These paintings address concepts of empire, nationality, extinction and catalyze a parallel discussion with Johns’ “Flag” as a concomitant result. American society often points to the principles and philosophy of ancient Greece as a foundation and touchstone for contemporary civilization and this relationship is integral to the ideas in a series of paintings began in 2014 with the Greek flag as a major element embedded in the work(s). Deer, Wood, Sky (2014) places a mule deer in the canton area and employs blue flag bars as sky while anthropomorphic aspens appear in the white bars. In Queen (2014), the canton-area queen in the upper right is flopped in the lower right-hand canton (“flop” is an editing term: it means to make the footage perspectively backwards). To view this flopped portrait of the queen, you would have to be inside the painting looking out - literally, it's the other side of her face. This editing technique - flipping and flopping - is essential to the design of my current paintings. In these works, a Greek flag is painted in enamel. The black, gray and white images in the canton areas (or flag bars) are painted by hand in an ink wash of oil paint, similar to sumi painting.