About Blog Events Team Partners Protocal Minutes Search Results More Field Notes Explain the purpose of the project right at the beginning (more important than the background) Does online / social media (in relation to a public engagement tour) present challenges for consent in the long run? i.e. once it’s out there, it’s out there. It’s important to listen more and ask people to expand when they speak or ask questions. Explain the development of working methods and situate the project in the context of research. Find ways for people to participate early on and throughout (eg, a show of hands) Always check sound levels Be clear about what we want from each audience we work with and why. Carers have a strong interest and stake in how loved ones are represented, it's important to listen to concerns. Ask for both positive and negative feedback – criticality is important. Why is it important for people to get involved (who don’t necessarily have personal ties to dementia)? Do artistic environments create better spaces for opening up? The levels of insight from the carer and the PLWD are different. History taking and taking time for conversation are the most important part of an assessment. Having continuity in appointments with clinicians can act as an important form of support. The MMSE is talked about a lot and I’ve never heard anything positive said about it. Aspects of this project may be inappropriate for people living with dementias. vs Aspects of this project may help communicate the experience of dementias to people who don’t live with them. It is upsetting to (perceive yourself) not to be able to do something. It is incredibly rewarding to overcome that feeling Helping each other out and listening is an important part of that process. People may participate, but not be able to understand consenting process – these people will be excluded from the presentational side of the project (information sealed / closed off). Reading out scripted information is not good – it’s important to be personable. Taking time to get to know each other is really important (parachuting in is ineffective and uncomfortable). What do we mean when we say we are aiming for ‘new forms of assessment’? Researcher notes the challenge of being personable vs getting results when testing (part of professional development?)

Graphene 2014 - present What are our material obligations towards disruptive technologies? This project explores the ways a ‘wonder-material’ is considered, produced and consumed in an increasingly hostile and unstable environment. A single layer of carbon atoms arranged in a hexagonal lattice, graphene is the thinnest, strongest and most conductive material on the planet and truly two-dimensional. Graphene has been continually lauded since its isolation by Prof Andre Geim and Prof Kostya Novoselov at the University of Manchester in 2004 and it has the potential to revolutionise energy, membranes, composites, sensors, electronics and biomedical technologies. Advancements in the study of the material provide hope but may also perpetuate troubling human structures and activities. Similarly, DIY materialists and basement experimenters may produce ill-fated fortunes or socially considerate designs. Previous Project Next Project

Friendship Rules 2015-16 Painting project about friends and dead painters, exhibited in a pub for my 30th birthday. Previous Project Next Project

Wet Paint on Wall 2017/18 Wet Paint signs are stuck to different walls and visited periodically to see how long they stay up. Previous Project Next Project

Assorted Paintings 2012-present Mixed works, various sources Back to paintings homepage Next Project

Temporary Observations 2016 - present How do common objects and experiences direct and shape our actions? This project creates artificial interventions in the built environment for observation into the fragility of our perceptual models. The observation of genuine human behaviours can be fleeting and ungraspable. By placing engrained signs, models and installations in a series of common and less common scenarios, viewers are invited to interact with artificial structures and test their perceptual agility. Documentation and recording of these interactions may be left to the imagination; when objects such as replica fuse switches or wet paint signs are removed or taken, residues of these accords and altercations can be seen and pondered. More recently, CCTV systems have been used alongside live note-taking, trap-cams and documentation by the viewers themselves. LOST Misplaced objects of play Work in progress Bollards II 10 replica bollards were planted in selected pedestrian locations around Deptford (for DeptfordX Fringe). Documentation of public interactions with the bollards were recorded and broadcast live online. (Click here for more documentation) Overground A full scale replica of a London Overground Station staircase was built in a garage from foam, card and paint and then opened up to the public. The event was documented using CCTV and public photography for 24 hours, over a week. (Click here for more documentation) Wet Paint on Wall Wet Paint signs are stuck to different walls and visited periodically to see how long they stay up. (Click here for more documentation) Refused Replica fuse switches were left in pub toilets and visited periodically to observe if they have been removed. (Click here for more documentation) Bollards I Four cardboard bollards were placed on a road at 4am for 30 minutes. 1 early morning delivery driver reversed back down the road. (Click here for more documentation) Back Next

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Natural Resources Home About Photographic studies Back Home Next Project

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. 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 colour, 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 held in numerous private and public collections worldwide, solidifying his reputation as an artist whose work speaks to the universal nature of human connection. 2025 Amélie, 2025 Mixed media on printed canvas 60 X 80 cm Tussle, 2025 Mixed media on printed canvas 60 X 60 cm Model, 2025 Mixed media on printed canvas 60 X 60 cm Red, 2025 Mixed media on printed canvas 60 X 60 cm Docio, 2025 Mixed media on printed canvas 60 X 60 cm Available works

Dashboard 2016-present Painting and augmented reality experimentation Previous Project Next Project

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