Charles_Harrison_Faces Procession (variation I), 2024 40x40cm Ink, acrylic, pastel, oil and resin on printed canvas Procession (variation II), 2024 40x40cm Ink, acrylic, pastel, oil and resin on printed canvas Quadrate (variation I), 2024 80x80cm Ink, acrylic, pastel, oil and resin on printed canvas Biography Charles Harrison (b. 1986, Kenya) is a dynamic contemporary artist whose work explores the depths of human emotion and connection. Since graduating in 2007, he has captivated collectors and audiences alike, first gaining recognition with a sold-out debut at the 2008 Spring Affordable Art Fair with Woodbine Gallery. Harrison’s paintings are not portraits in the traditional sense but rather expressions of human experience—fluid, layered, and deeply introspective. His figures emerge from textured surfaces, built through an instinctive process of abstraction and realism. By layering color, mark-making, and spatial depth, he creates works that evoke the complexity of human interaction and perception. “In these faces,” Harrison explains, “I seek a kind of abstract realism—one that resonates both visually and emotionally. I want the viewer to feel a moment of recognition, as if their gaze is met and understood.” In r ecent developments, Charles has been working alongside AI to explore new mark-making techniques , and technological relationships with the human. With a growing international presence, his work is now held in numerous private and public collections worldwide, solidifying his reputation as an artist whose work speaks to the universal nature of human connection. Available works

Available Works This section is currently under construction, please contact for enquiries and more information. Recent paintings Coming soon - Variations 2025 2024 Available paintings 2017-2007 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008

Single Yellow Lines 2016 - present Single Yellow Lines is an interdisciplinary project investigating the characteristics of singular painted gestures. Can single painted gestures tell us anything about individual moments of creativity? This project invites people to paint single lines - both controlled and expressive - in artistic, public and experimental contexts. Single Yellow Lines is exploring and recording moments of painterly action in a series of creative environments. Around 500 people have been invited to paint single yellow lines; as part of an art activity at Rare Dementia Support Groups, in one-on-one conversations with artists, scientists, people with dementia and carers, and at public talks and events. The project has been further adapted as part of the “Am I the right way up?” Study investigating balance, movement and perceived verticality for people with Posterior Cortical Atrophy - an atypical form of Alzheimer’s disease which predominantly affects visual and spatial perception. Further artistic experiments using virtual reality and data-as-sound are currently being explored. The project aims to highlight the individuality and complexity contained in a single gesture, whilst also developing innovative techniques and situations for recording, analysing, interpreting and storing artistic and scientific data. This project has been funded by the Created Out of Mind residency at Wellcome Collection, London and UCL. The project will be touring throughout 2019, funded by a Wellcome Public Engagement grant. For further information, exhibitions and screenings, please contact us Touring information can be found here Please click here for lines painted in Virtual Reality using Google Tiltbrush Back

About Blog Events Team Partners Protocal Minutes Search Results More Ethical questions for artistic engagement and research with people living with dementia How is consent gained (& ongoing consent)? Does consideration of capacity and consent exclude people from participation? Does the project encompass differences in emotional range (not one size to fit all)? What is the comparative value to the participant to the practitioner? What happens (to the project, people, work, data etc) after the activities end? Process vs product (for whose benefit)? How do audiences change as the project progresses? Is it problematic for ‘dementia’ to act as an inspiration for artistic work / research? To what extent does the project interact with the person vs the illness? What considerations are there in place in terms of carer involvement? Does the extent of engagement offered suit the form and aims of the project? Are the activities culturally and socially inclusive? If work is by nature exploratory, how is this (uncertainty) communicated? How can the value of uncertainty in the process be aligned with clear, structured pre-emptive protocols? What is the justification for appropriation (in art and research)? Is criticality of the methods used embedded in the project and are there ways to adapt and change? Can the benefits of criticality outweigh the benefits of positive engagement? What is meant by positive engagement? i.e. what sort of experiences are to be encouraged?

Produce The garden is perfect for growing, fermenting and permaculture. There are some raised beds, an abundance of apples and a lot of potential for more. Over the past three years we've been working on a community apple project to make craft apple juice, cider and hosting an annual wassail event. Home House & Garden Studio Space Produce Skills & Activities Let’s Work Together Get in touch so we can start working together.

Home About Commercial painting Painting Painting remains a useful place to get down some thoughts, with a mixture of themes and projects. There often seems to be a relationship between humanism and different forms of technology. Assorted Paintings, 2012-present Mixed works Memes, 2021 Paintings of snapshots from social media Dashboard, 2016 - present Painting & augmented reality experimentation Baby Abstracts, 2015-17 Painting project about flatness and digital banality Friendship Rules, 2015-16 Painting project of favourite friends and dead painters The Swynnerton Plan, 2015-present Painting project about redaction and growth Back to All Projects On to Sculpture, Installation & Intervention

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Status (Performance) 2017 This work contributed to We’re All Involved In This Mess, an experimental performative exhibition at EnclaveLab in London. The three-week long exhibition consisted of a flux of performances and site-specific creations in which artists engaged both with the space and with the previous works, leaving a succession of traces along the way. More information here. Previous Project Next Project

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Natural Resources Home About Conditions for Ongoingness (Documentation) 2018 Conditions for Ongoingness was a project furthering investigation into the symbiotic nature of human and non-human systems. The exhibition at Jupiter Woods reflected on a two-day permaculture workshop led by artist and environmentalist Charles Pryor in October 2017 and new works by invited artists considered our entwined relationship with the environment and with each other. More information here Previous Project Natural Resources Homepage

Baby Abstracts, 2015-present Painting project about flatness, edges and digital banality Previous Project Next Project

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