"The artworks I create are very much a look and a response and sometimes a very romanticised, if not idealised, depiction of the experience I had. If you take, for example, the Deserted artwork, I have these very fond memories of when I was in the United States studying and travelling. For a long time I’d been road tripping around with my camera, documenting the things I’d found. I’ve always been drawn to the beauty of the environment and nature but the memories I have, or the memories I’ve formed from these encounters, tend to become distorted or surreal, sometimes accidentally, sometimes deliberately. There’s this kind of cross-pollination between what is real and the things I’ve been looking at in popular culture. Maybe it’s films that end up being associated with the places I’ve visited and it’s the storytelling’s fault." - Dominic Harris

Extract from interview with Dominic Harris by Simon Quintero.

Harris’s works forge an unlikely bridge between the real and the digital. Harris is, admittedly, a traditionalist.  His embrace of the digital is not one of subversion, rather, of a love for the marvels of the screen format, and above all, technology. Harris’s “computer art” forbearers include the Swiss artist, Jean Tinguely, one of the first artists to employ robotic machines to create drawings with his Métamatic series (1955–59).
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Extract from essay by Joachim Pissarro